Sunday Snapshot: Pretty in Pink

Happy Valentine’s Day!

I just couldn’t pass up this sweet photo for today’s feature. Perhaps many of us out there remember the magic of our first performance experience. I love that this young dancer’s recital moment is captured from the wings.

About the Photographer: Hannah has been featured on Dance Advantage before with a photo entitled Eiffel Tower. You might be surprised to learn that she is 15 years old and that this high school sophomore discovered photography only last year. She says that some of her friends were into it and she, “like any teenager had to follow the trend.” However, if you look at the work Hannah has displayed on her flickr photostream, I think you will see that there is a creativity and sophistication to her work that sets her apart. She shows real talent and promise, in my humble opinion. Though Hannah began just for fun, photography has since become very important to her. “I love it. It helps me express what I’m feeling and is an easy way to sort my thoughts out. I’d encourage anyone to become involved in photography! It’s so fun!”

I welcome and encourage other dancers and amateur photographers to pick up a camera. Submit your work to the Dance Advantage Sunday Snapshot pool. I’d love to feature you here on the blog!

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Sunday Snapshot: Impressions

The painter Degas seemed to enjoy capturing the natural asymmetry of dancers in training. He preserved the everyday moments of dancers between barre exercises, waiting or tying their ribbons, or shared with viewers the skewed perspective of performance from the wings.

Similarly, much of what I’ve seen of Carl Johnson’s ballet photography (I made his acquaintance early on in my blogging career) offers casual glimpses of the young dancers in his photos. The shot above may be a bit more formal but the muted reds and blues of this textured image recall the impressionistic paint strokes of Degas.

About the Photographer: Carl Johnson is a photographer from Albany, New York, whose photographs of dance have been sold around the world. Carl blogs about music, biking, and other aspects of his non-urban life over at My Non-Urban Life. His daughters are academy students at the School of the Albany Berkshire Ballet, directed by Madeline Cantarella Culpo, in Albany, New York. This photograph is from the school’s annual recital.

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Want to have your photo featured?

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Friendly Reminder: Please respect copyright online. Unless permission is granted through Creative Commons or other licensing agreement, please do not publish copyrighted photos without the permission of the owner. Thank you!

DVD Review: My First Ballet Collection

Do you have a ballet student or young child interested in all things dance on your gift list this year?

A brand new video, released in September, would be a wonderful addition to their dance library. My First Ballet Collection is exactly what its title indicates, a treasury of excerpted performances which are particularly suited for introducing children to the world of ballet. Youngsters will immediately recognize some of the better-known tales; Sleeping Beauty, The Nutcracker, Swan Lake, and Cinderella are all included in the compilation. However, ballets such as Coppelia, Giselle, Sylvia, A Midsummer Night’s Dream, and La Fille mal gardée, present characters and moods that will appeal to all ages.

My First Ballet Collection offers high-quality film and sound production, however the DVD is not frilly. Played straight through, each of the 26 ballet excerpts are introduced with a caption indicating the ballet’s title, music composer, and excerpt heading. The DVD also conveniently offers the option to view by chapter for easy navigation among the selections. The excerpts are highly accessible and are well-chosen to stand alone. The video even captured the attention of my two-year-old. He was motivated to move to the energetic music and particularly enjoyed imitating the dancers as they jumped and balanced.

A collection such as this would ideally inspire further investigation of the ballets, their stories, their choreographers or dancers, and the physical movements of which they are made. Parents hoping to plop their child in front of the TV or expecting the DVD to connect all the dots, may be disappointed in its lack of interactivity. My First Ballet Collection goes as far as bringing a variety of real ballet performances into the home or studio in one tidy package, providing the opportunity for parents or teachers to assist children in their continued exploration of ballet. This may be scary for some parents who feel they don’t know much of ballet or the dance world. However, exploring together is fun and encourages enthusiasm for learning.

Bottom Line: My First Ballet Collection is a great choice for those wishing to nurture enthusiasm for ballet among children of all ages. Younger children will enjoy being introduced to colorful characters and beautiful dancing. Older children will benefit from the opportunity to sample a mélange of ballet specimens.

For more info visit www.myfirstballetcollection.com. The website features additional info about the Royal Academy of Dance training program, where to find instructors, and a listing of North American dance companies. Purchase the video here.

Teachers, My First Ballet Collection works as a classroom tool as well. Skip easily among the snippets to illustrate a step, try on a variation, or to visually aid a discussion of ballet history.

In Detail

• My First Ballet Collection is the result of a collaboration between Naxos of America, Opus Arte, and the Royal Academy of Dance (RAD).
• The DVD features excerpts from 10 different productions with performances by ballet stars such as Darcey Bussell, Carlos Acosta, Patricia Barker, Maria Kochetkova, and more.
• Showcased are four different ballet companies from both sides of the Atlantic: The Royal Ballet, The Paris Opera Ballet, San Francisco Ballet, and Pacific Northwest Ballet.
• San Francisco Ballet’s Nutcracker, Balanchine’s A Midsummer Night’s Dream (performed by PNB), and The Nutcracker (The Royal Ballet), feature performances by children and student dancers.
• Diverse locales and archetypes are explored on the DVD: woodland creatures, mythological landscapes and beings, pastoral settings such as an 18th century farm (complete with dancing chickens), a toy shop with life-sized dolls, enchanted kingdoms, and 1930’s Hollywood (via Nureyev’s updated Cinderella).
• The 26 excerpts range from dramatic to romantic to comedic.

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Beyond Butterfly Kisses — 12 Tunes for Dancing Daddies and Daughters

Father’s Day is this weekend so in honor of Dance Dads, I’m adding a list of songs that might just be perfect for a father/daughter recital choreography, a wedding dance, or other performances. These range from sentimental to spirited. Hopefully you’ll find something new or a song you’ve never considered before. (And in case you think I’m neglecting these — look for father/son, mother/daughter, and other combinations in the future!)

Father and Daughter — Paul Simon; Surprise

Audiences will enjoy this bouncy tune with its affectionate message without overdosing on sugar:

“I’m gonna watch you shine; Gonna watch you grow
Gonna paint a sign so you’ll always know
As long as one and one is two
There could never be a father who loved his daughter more than I love you”

Daddy — Kristen Chenoweth; Let Yourself Go

This one is a cute jazz number that would be tongue in cheek since the “daddy” in this song is not necessarily a father figure. However, the singer wants “a diamond ring, bracelets, everything” and tells Daddy “You oughta get the best for me.” Play up the superficial stereotype of having Daddy wrapped around his little girl’s (gilded) finger and you could have a cute number on your hands.

My Heart Belongs to Daddy – Sophie Milman; self-titled

There are lots of versions of this song and you could pick one you like but I’m suggesting this version by Sophie Milman because this recent update has a tempo that moves yet maintains the feel of a jazzy standard.

Colorful — Rocco DeLuca; I Trust You To Kill Me

Not an obvious choice, perhaps. The lyrics are ambiguous but couldn’t every father say that his little girl is “the most colorful thing that I’ve seen…”?

Daddy’s Girl — Katey Segal; Room

If you’d prefer something that’s a little bit country, the genre is not wanting for daddy-daughter tunes. But this one from actress Katey Segal may not be as familiar or overdone even though she performed it on the popular sit-com 8 Simple Rules.

She’s a Dancer — Phil Keaggy; Way Back Home

Christian artist Phil Keaggy has a Beatles-esque sound. With lyrics like “As you reach for the sky, love, and pirouette ‘cross the room, just remember that you are my love, and no other can replace the face of you” this one seems pitch-perfect for a dance recital. Keaggy’s lyric is not without Christian references, particularly in the last stanza, so it may not be for everyone but, it is sure to charm most.

To Make You Feel My Love — Billy Joel; Greatest Hits Vol. 3

Lullabye (Goodnight My Angel) — Billy Joel; River of Dreams (or Greatest Hits Vol. 3)

There’s a father/daughter two-for-one deal on this Billy Joel Greatest Hits album. To Make You Feel My Love is actually a Bob Dylan tune and has been covered by numerous artists over the years, including most recently American Idol’s Kris Allen and British singer Adele. These versions are sweet but I’ll always have a sweet spot for Joel’s version. Pick whichever you’d like but a male vocalist will accentuate a fatherly interpretation of this lyric, especially when performed with teen or older dancers.

Lullabye is perhaps more appropriate for choreography pairing a daughter (or daughters) with her father, and could work for both younger or older students. The song has a bittersweetness that any parent in the audience could appreciate.

Sweet Child O’ Mine — Guns n’ Roses; Appetite for Destruction

Dads will feel like the rock stars they are when dancing to this tune. It’s not your average little girl theme but could be a super sweet number all the same.

Winter — Tori Amos; Little Earthquakes

Tori Amos will put a contemporary/lyrical dance spin on the traditional father-daughter dance. It would be interesting to see how fathers could be incorporated into the dance and movement with this one. It is tender without being overly sentimental and if done well might just be a show-stopper.

Wild World — Cat Stevens; Tea for the Tillerman/Greatest Hits (or try the Mr. Big version)

This one may not be specifically written for a daughter but the lyric is close enough that it could work in this setting. Plus, those familiar with the song may enjoy this unique interpretation of a favorite tune.

When The Stars Go Blue — The Coors (with Bono); Dreams: The Ultimate Coors Collection

Again, this lyric is somewhat ambiguous but as a duet that mentions dancing in a wedding gown it could be a lovely father/daughter choreography or wedding dance. Though the Ryan Adams song has been covered by others, I’m partial to The Coors version (and not just because I will be a fan of U2’s Bono “until the stars go blue”) but because of its crisper tempo and the complimentary vocal tone of the duo. This is often found as a live track but the studio version is on the album listed above.

Have your own song suggestions? Add them below!

Why and How to Encourage Students to See Concert Dance

Last weekend I attended the final day of the Dance/USA conference held in Houston this year. The first morning session was a topic that is near to my heart – cultivating dance-literacy. Included in the discussion were thoughts and experiences on increasing awareness and knowledge of dance art through dance on the Internet, dance on television, dance in community building and engagement initiatives, dance in politics, and dance in our K-12 and university educational systems. Though I found the discussion enriching, I was a little disappointed that no one mentioned the population of dancers and dance educators that exist in private studios.

Why private studios were not part of this discussion is an interesting topic, but one that I will save. Instead I’d like to share some thoughts about why creating opportunities for students to see live concert dance should be a priority for teachers, studio owners, and parents, and some ideas about how to make concert dance more accessible.

Read This…

Power of Performance: Building inspiration in students through concert dance

in DanceStudioLife Magazine’s May/June issue.

I can finally link to this wonderful article by my friend Nancy Wozny! Before, I had to tell readers to pick up a copy or subscribe to the magazine (which I highly recommend anyway!). In the article three teachers from very different locations within the U.S. describe how and why they encourage students to see live performance.

It’s a topic I’ve discussed in various ways before. However, the quotes in this article richly support my own thoughts. Therefore, I’ve decided to feature several of them here.

Why Encourage Students to See Concert Dance

• Inspiring increased drive and dedication in class

• “When they come back after seeing a show, their focus and drive are off the charts. They see what they can become if they work hard. Although students might be the best in their class, they don’t often see how much further they need to go.” – Melissa Dobbs; Metropolitan Fine Arts Center in Washington, DC.
  

• It is good for your business
  • These experiences show that you care about educating whole and well-rounded dancers. Parents really do appreciate dance studios that make education (not just performing, competing, or even training) a priority.
    
• Seeing dance principles applied

• “There’s something about seeing professional dancers do the things that I am telling them all the time that makes it really sink in. Honestly, I see better dancing after they have seen the magic that can happen onstage.” – Louanne Courtright; Louanne Courtright Dance Studio in rural Michigan
  

• Promoting the ability to discuss dance intelligently
  • Should students plan to dance at all in college (as a major, minor, or otherwise) they will need to be able to critically discuss and write about concert dance. Developing these skills in a topic of interest (such as dance) will help students in whatever academic and career paths they choose.
    
• Learning about theater etiquette
  • As students go out into the wider world, like it or not, they are representatives. What they do or do not learn about etiquette, manners, and conduct reflects on the teachers, communities, and institutions that have reared them.
    
• Exposing students to different dance perspectives, aesthetics, and cultures

• “She recalls the case of one student, Spencer Ramirez, who was committed to jazz dance — that is, until he started going to see modern dance. ‘His whole world opened up after seing contemporary dance,’ says Dobbs. Now a student at The Julliard School, Ramirez was changed by what came into his awareness while sitting in the audience.”
  

• Opening students’ minds to the greater dance world

• “I also want our students to know that dance is more than what’s on television and at competitions.” Melissa Dobbs; Metropolitan Fine Arts Center
  

• Developing lifelong supporters of the arts

• “I want to develop students who grow into lifelong supporters of the arts. If you are not doing that, you are not giving a full dance education.” Michelle Spezio; Spezio’s Dance Dynamics in western New York

A neglected relationship or not, dance artists and dance art feed and influence the work and training within dance studios. And, dance studios are training both the artists and audiences of the future. Choosing to foster this relationship is better for all.

How to Encourage Students to See Concert Dance

Ultimately, I feel encouragement is about removing resistance and making concert dance forms more accessible.

• Organize excursions to local university or dance company performances, or weekend trips to larger cities for live performance opportunities
• Hold fundraisers to cover costs
• Invite touring artists to conduct master classes or workshops at your studio (Students are more likely to attend concerts featuring artists with whom they have a personal connection)
• Announce and post flyers at your studio about upcoming events
• Work within your local community to bring arts opportunities to the area
• Watch and discuss performances on video/DVD. (Viewing parties could be organized as a special event or excerpts could be viewed in class to supplement what is being covered.)

There are more great ideas in the DanceStudioLife article!

You might also take a look at the following articles on Dance Advantage. They offer methods of facilitating concert dance experiences and how to incorporate exploration of dance art in your classes:

• Live Dance Challenge
• Teaching and Exploring the History and Evolution of Dance
• What I Did Over Summer Vacation
• Watching and Discussing Dance

Backstage Bliss: 11 Rules of Thumb for Students in a Dance Recital

Whether it is your first recital or your fourteenth, it never hurts to be reminded about proper backstage etiquette and behavior. Your studio owners and teachers may have specific regulations and procedures for you to follow. Adhering to these rules helps the performance to run smoothly for you and the others around you. Recitals can be hectic and stressful for those trying to make the day/evening go off without a hitch. I know your teachers will appreciate not having to remind you or your friends of these basics on recital day.

1. Don’t mess with other people’s props or costumes

This is a top directive of any backstage situation. Playing with or moving someone else’s props or costume pieces always results in one of the following: A) items will not be in the correct place when they are needed, stalling the show or leaving someone without, B) items get broken, torn, damaged, stalling the show or leaving someone without, C) someone being rather upset with you. If the prop or costume is not yours, don’t touch it! Even if you think it’s in the wrong place and are trying to help, you should just tell the person to whom it belongs or an appropriate adult.

2. Stay in your designated area

I know it can be annoying to be restricted as to where, when, or how you can go somewhere, especially when you are quite familiar with the building or backstage area. It can also be tempting to want to move from your green room (or waiting area) if your friends are required to be in another location. However, it is important to stay where you are supposed to be throughout the recital process. Why? Teachers and recital helpers have a lot of kids to keep track of during a performance. When their requests are ignored, you stand the chance of missing your entrances or causing someone else to miss theirs. Even worse, is that no one knows where to look for you should something unfortunate occur.

3. Bring something to do

Recital performances almost always involve a lot of waiting either during dress rehearsal or on show days or both. Even if you think you’ll be busy, it’s always a good idea to bring something quiet to do backstage as you wait (in your designated area). Some possibilities include a book, a simple card game, pens and paper, coloring books and crayons, puzzle books, even a hand-held video game if the sound can be turned off. It is alright to play games with friends as long as you can keep the noise levels down. Just make sure you are ready and in your next costume before engaging in an activity, and that you can drop what you’re doing immediately when asked to go.

4. Always stay one step ahead

Be on top of things and be responsible for yourself. Don’t rely on others to know what’s next, know where you are supposed to be, or what you have to do – not if you don’t have to or are old enough to do it yourself, anyway. This involves laying out your costumes ahead of time and knowing what order they go on, keeping track of where your dances are in the performance (and what’s before them), knowing what hair or makeup changes are made and when, being sure about which side of the stage you enter from, double checking that you have all you need before you leave the house.

5. Keep socializing to a minimum

There’s a lot of energy in the atmosphere at a performance. It is easy to get caught up in the excitement with your friends backstage, allowing noise levels to escalate and/or creating a distracting environment for yourself or others. To have the best show possible it is important that everyone stay calm and focused. After a successful show is the appropriate time to party. During the show choose calm activities (see #3) to occupy yourself and your friends and reserve your energy for your performance onstage.

6. Stay quiet in the wings

The immediate backstage area is not the place to go over choreography, have a conversation, or ask a question. Sound from backstage can carry surprisingly well to the “house,” or audience. If you are prepared, calm, and focused there should be no reason for talking in the wings. If a peer asks you a question, nod (if the answer is yes or no), and/or calmly remind them to be quiet with the universal symbol at left. Making noise in order to quiet others is not only unhelpful, it doesn’t make much sense! Which leads me to…

7. Be responsible for you and you alone

Unless you are specifically put in charge of a person or group, allow a teacher or someone in authority to take care of any disorderly students. If you know that someone missed being given an important direction, for example, when it is time to line up, calmly let them know and then move along yourself. Don’t waste time helping those who are not helping themselves because your only job is to be responsible for you. When you occupy yourself with what others are or are not doing, you risk missing your own cues, entrances, costume changes, etc.

8. Stay warm, stay safe

It is important to stay safe and free of injury backstage. If you know you have some downtime between numbers, wear a warm-up and/or legwarmers over your next costume (just remember to take them off!), staying active and mobile with full-body movements like noiseless jumping jacks or body swings, and doing some stretching to keep your body warm and limber while you wait. Other safety measures include not wearing soft shoes or bare feet in areas that have not been swept clear (especially in the immediate backstage area where often there can be shards of wood or glass, or things lying about from other performances). Your teachers will let you know if an area is safe to be barefoot but wear shoes/flip-flops if you are going to be moving about backstage in zones that may not have been cleared.

9. Be conscious of bleeding light

This is one that even those helping at a recital sometimes forget. If you’ve ever stood in a dark room when someone opens the door to a room that is lit, you understand that light has a way of “bleeding” into the darkness. This is why it is kept dark in the backstage area with only blue or other filtered lights illuminating the area. Being conscious of this means waiting until someone from the inside (who knows when it is “safe”) opens a door to the backstage area, or listening for the appropriate time yourself. Typically when you know that the dancers onstage are performing and being lit, it is safe to enter but do so quickly, quietly, and close the door behind you. Any light from backstage can affect the lighting design onstage.

10. Be conscious of sight lines

This is another one of which novices to the stage may not be aware. Sight lines are imaginary lines that distinguish what is visible to the audience and what is not. A good rule of thumb is that if you can see an audience member, they can see you. However, you must be aware of your whole body, not just your eyes. When waiting in the wings, it is a good idea to stand close to the curtain (without moving it) and back from the very edge. Some studio owners will place a line of tape for students to stand within or behind when waiting backstage. Though it can be tempting to try to see everything happening onstage, stay out of the audience’s line of sight. If your cue for entering cannot be seen from where you are waiting, dress rehearsal is the time to figure out a new cue!

11. Don’t argue

Last but not least, it is important to be courteous and respectful toward others, especially during a performance. This includes the teachers, parents, and others who are helping backstage at a recital. By showtime you should know (by face, name, or by an identifying badge or button) teh people who have been designated as helpers and what role they play in helping the performance to run smoothly. If you are instructed to do something or go somewhere, asked to quiet down, or are otherwise asked to respond to a request – just do it! Don’t question, don’t argue, don’t grumble.

If you happen to be absolutely positive that you are being misdirected, ask nicely to check the facts – “I am sure that I am to be in Room C, not Room A right now. Can we double check, just to be sure, please?” People’s patience can run thin during a high-stress situation like a performance. If your respectful response is not appreciated, don’t react. Simply do your best to comply with the direction given.

For those of you who still have recitals ahead, I hope that this list will come in handy. Remember that everyone backstage at a performance wants the same thing – a great show that runs smoothly and is fun for the audience and participants. Though the show’s organization may not be something you can control, you still have the power to make sure you are fulfilling your role to the best of your ability. Following these eleven rules of thumb will help to ensure that. Have a great performance!

What are some other things students should do or remember when they are backstage?

What are some things your studio does to keep things running smoothly at a performance?

National Dance Week — Live Dance Challenge

This week is National Dance Week in the United States! Given the mission or intent of this grass roots movement is to “bring greater recognition to dance as an art form,” I thought I’d take a moment to encourage dance teachers and students to attend (or plan to attend) a live dance performance this week.

Live Dance Challenge

Seeing dance live is a completely different experience than seeing it on television. In live performance you choose what to watch on stage, taking in the entire picture or letting the movement (rather than a camera) draw your attention. The energy between performers and the audience is palpable, making it a more exciting way to see dance. And, live performances showcase diverse dance  styles and dancers that you might not otherwise encounter.

For all of us devoted to dance training and helping others develop a passion for dance, I feel it is important to leave our homes and participate as members of the dance audience whenever possible! There is much to be learned from those making dance art and from the experience of absorbing and witnessing a wide range of movement vocabularies, aesthetics, and perspectives. If you happen to be a regular attendee of dance concerts or professional performances, consider trying a style, artist, or company that is new to you, something that may even push the boundaries and definitions of dance itself!

Obstacles

Distance – I realize that for some, getting to a performance is tricky. There are studios without direct or nearby access to professional dance companies or venues for dance. However, most of you are probably within a day’s drive of a space that occasionally houses dance productions. Get on their mailing list! It would likely be exhilarating for a group of your dancers to make a special “field trip” once or twice a year with their fellow teachers and students to see live dance. For myself, having grown up in a small town three or four hours from any major city, these occasional excursions are counted among my most memorable dance experiences.

Uncertainty — Though distance or logistics may sometimes be a problem, often I feel it is uncertainty that deters even those interested in dance from attending live dance concerts, particularly contemporary dance works. This is understandable! It is sometimes hard to know what to expect from an unfamiliar or untested choreographer or dance troupe. Attending something familiar, like The Nutcracker or Swan Lake can be engaging and inspirational experiences, however learning to appreciate dance art requires exposure that spans the spectrum. Unpredictability can be intimidating. Will I feel dumb if I don’t get what the artist is trying to say? Will there be images or situations that will make me or my students feel uncomfortable? Will it challenge what I believe about dance? Will I feel like I wasted my money? These concerns are normal. Whether you are looking to ease the minds of parents or simply familiarize your students, here are a few things you can do to prepare for your dance experience:

• Look online for past reviews, previews, or essays that pertain to the dance artist or composition in question. More than just criticism of a work, reviews often provide some context with which to view the dance.
• If you are unsure of the content of a performance, visit the company’s website and look for production notes on current or upcoming projects. Call or email the box office or venue office and ask questions. As a last resort you may try sending a brief e-mail inquiry to the contact address provided at the company’s website. In all cases be polite and be sure that you’ve at least attempted to research the work yourself. If age appropriateness is a concern, it is okay to ask if there might be anything within the performance that could be considered unsuitable (more on this below) for students ages ___ to ___.
• Search YouTube or try a Google video search for the artist/company name or the work itself. Many artists also have video at their website. What better way to preview a work than to see some of it!

Recognize and share with students that generally contemporary dance choreographers do not aim to express a “message” that the audience will need to decode. Like other forms of contemporary art, the role of an audience member is to participate by observing and experiencing. What each person takes away from or sees in the work will vary. There are no wrong answers! I recommend viewing and sharing this 14-minute video found at ArtsAlive. Featuring Canadian athletes and actors, including Grey’s Anatomy star Sandra Oh, the video is designed to show that we all have an innate ability to relate to and appreciate dance.

Negative Responses — Because everyone interprets dance differently, know that occasionally, and despite all best efforts, some student or parent may see something inappropriate or take offense to the material. Preparing students and parents for what they might see can sometimes improve or soften negative reactions. Rarely, have I ever seen anything worse on stage than what one might see in a PG-13 movie. However, viewers invest themselves in a live performance in a way they would not when viewing something on screen, enhancing the emotions and reality surrounding certain situations. This is why seeing live dance (or theatre) is a unique and important experience but also why there is an increased chance of complaints or concerns. Provide opportunities to debrief following any live performance. Allowing participants to calmly and openly discuss their reactions to the dance provides a forum to digest, rather than stew over, a particularly evocative or displeasing work.

Embrace the challenge! Art may at times invite us to look at something in a new way or shine light on aspects of life, or humanity that make us uncomfortable. Occasionally, the movement or the way it is presented may seem strange, disconcerting, and unfamiliar. I can’t guarantee you’ll like everything about the performance you attend. It may not be your personal preference or you may simply need further time, exposure, or discussion about what you’ve seen to interpret and appreciate it. After all, many people don’t particularly enjoy coffee the first time they taste it! Experience is a great teacher. The more you see, the more connections you’ll make. You won’t feel intimidated going to see what some may consider “high art” because you’ll recognize its relationship to the other performances you’ve seen. And, you know what? Seeing all this dance, in person, will make you a more aware and inspired performer yourself.

If you can’t see live dance this week, be sure to check out some of the other National Dance Week events happening in your area. Don’t see something listed? Contact a local delegate, or find your own unique way to highlight or recognize dance art in your studio, school, or community.

Participating or organizing an event this week? Big or small, we want to hear about it! Share your NDW experience in the comments below.

On a Personal Note: In Performance

Typically my posts at Dance Advantage strive to be informative for a variety of dancers within a wide range of locations. Although, I try to offer my personal thoughts, views, and voice within the articles here, I’ve mostly avoided getting too personal. Posts are rarely about me. These, I relegate to my personal/professional dance blog. However, as I mentioned in a recent post, I am currently rehearsing for a performance that opens this Thursday and therefore, strayed from my typical posting patterns. As I wrote some quick thoughts about the show elsewhere, I realized that perhaps 1) you may be interested in what I’ve been up to (if not, my apologies for this brief diversion) and 2) that there actually were tidbits that might be useful to readers here.

In particular, there is a passage that helps to answer a common question voiced by those who view modern/contemporary dance performances – “So, what it is about?”

In our daily lives, we are used to seeing dance, theater, or movies that tell a story, that have a plot, and characters. So much so, that it can be unsettling when we view something that simply doesn’t have any of those things. The link above does not seek to address all of the relative concerns in this matter, but it may give some insight for anyone that may be trying to explain such an idea to a student, friend, or family member, or even seeking to understand or interpret contemporary dance for themselves. Therefore, I thought it was worth sharing with all of you. Here is the link.

As you will see, if you visit the above link, this particular performance will end March 15. I am looking forward to returning to my normal routine, both in life and in blogging but am excited to share this performance with audiences. Feel free to send positive thoughts my way as I enter into an exhausting week of tech rehearsals and performances!

Thanks!

7 Secrets of Super Performers (Improving Your Performance Skills)

If you are a dance student, chances are you are probably preparing for a performance right now. You’re working hard to learn the steps and remember the sequence so that, by the time you get on stage in front of an audience, the dance will be second nature. But performance, as you probably know, is more than steps and sequence. These things could be perfect and the presentation will still bore an audience if the performers are not engaging and enjoyable.

Some students seem like natural performers. They know how to “work a crowd,” they dance with energy, and seem to move with joy. Certainly, experience as a performer plays a big part in this. Like anything else, practice in performance allows one to learn what works and what doesn’t. “Natural” performers, however, seem to know something that others do not. Here’s a list of some of these secrets. Actually, some of them may not seem that secret (I really couldn’t resist the alliteration), but perhaps you haven’t put much thought into them before. As you work toward your final performance be sure to put these skills into practice with as much (or more) diligence as learning the steps.

Super performers…

Never dance alone, even in a solo – The word performance implies that a dance is not only being executed but witnessed as well. Including the audience in your performance first and foremost means that you must not forget or ignore that they’re there. If this makes you nervous, it may be useful to know that according to The Anxiety Treatment Center (Chicago area), involving the audience can actually lessen your anxiety or stage fright. (You might also read this article by Sanna Carapellotti offering tips for managing negative thoughts in performance.) The second application of this principle is being aware as you dance with others in a group. Involving the audience or the other dancers on stage with you can be manifested in different ways including making eye contact, directing your energy to one person within the audience or offering your energy to the others around you, and using or responding to the energy of others. None of these are things that you DO so much as things you FEEL and THINK as you perform.

When you dance, your purpose is not to get to a certain place on the floor. It’s to enjoy each step along the way.
~ Wayne Dyer ~

Super performers know… the eyes have it – Facial expression is important in dance but often people talk only about smiling in a performance. While a smile can be important during certain types of dances, not all dances warrant that expression. In fact, facial expression often has more to do with the eyes than with the mouth. So, rather than focusing on a “smiling” expression, I prefer students to practice an “open” expression with their face. Although THINKING or FEELING this concept is at least half the battle, there are some things you can DO in this case. As you perform, engage the muscles in the face by slightly lifting the eyebrows – not to a comical extreme, but in a way that is comfortable and easy to maintain. It is the same expression most humans use when making eye contact and really listening to a friend or speaking excitedly in conversation. This is why audiences respond well to performers who utilize this technique. Also, truly see, look, and take in the world through your eyes as you dance. As for the rest of the face, be natural. Relax the lower jaw. This will facilitate a smile that comes easily but is not plastered to your face, or aid any expression befitting the mood of your dance.

People come to see beauty, and I dance to give it to them.
~ Judith Jamison ~

Even the ears must dance.
~ Natalia Makarova ~

Super performers understand musicality – The concept of musicality can be quite elusive, everyone has a different way of thinking about musicality and there is great discussion on this topic elsewhere online. I will offer my thoughts but perhaps others will contribute as well: While counting can be important sometimes for finding moments of precision in a dance, musicality in performance is expressed through more than just counting beats. In fact, while counting, it is easy to forget that a beat includes not only the sharp “tap” of a particular rhythm but also the space between those taps, just as all movements include transitions and shifts of weight between desired “shapes” of the body. Exciting and musical performers fill these spaces in the music and movement, not letting the energy or intent drop between shapes or between counts. Enjoyable performers also utilize dynamics in their performance. Resisting “sameness,” as they dance, they incorporate crescendo and decrescendo, sudden or gradual changes in the quality of the movement, that often reflect or work within the accompanying music or score. Choreographers utilize music in different ways and a good performer will seek to understand what part of the music (rhythm, melody, counterpoint, etc.) the dance-maker is using as inspiration in the movement. To do so, it is always helpful to have at least a basic understanding of music composition or theory but THINKING about what you FEEL and HEAR in music and applying these to your dance practice is the first step in bringing musicality to your performance. In fact, a performer can be musical even without dancing to music!

The more you understand the music, the easier you can dance.
~ Orlando Gutinez ~

The audiences ears hear the music, and their eyes see you being that music. Dance is the music made visible. You ARE the music!
~ Morocco ~

Super performers ooze confidence - Some confuse attitude with confidence. Attitude is something which is acted or portrayed. Just as any role would, attitude requires a level of confidence to be played well but, it is simply a layer or a persona the performer wears in his/her performance. Confidence is trust in yourself and in the situation but, it is not centered on the self. Trust in yourself and your fellow dancers is the practical side of confidence and comes from preparation and experience. The work you put into the dance steps and sequence, the time and effort you put into class and technique, the build up of experience on stage or of situations in which you must improvise or think on your feet. These things allow a performer to trust. The more conceptual aspect of confidence lies in the idea that exuding confidence does not require one to act in a self-centered manner. In fact often it is quite the opposite. Dancers with confidence give a lot of themselves without dwelling on what the audience is thinking of them. This allows the performer to focus on making good use of all that preparation, overcome mistakes when they arise, and concentrate fully to the performance itself. I hope this demonstrates that confidence is not something that someone either has or hasn’t. You can actually discover your confidence with many of the same techniques used to reduce performance anxiety or fear. (If you haven’t checked out the article link above, I strongly urge you to take a look at this write-up on stage fright for methods of unearthing your confidence.)

Don’t be afraid to be amazing.
~ Andy Offutt Irwin ~

Super performers are actors as well as dancers - Just as musicians understand the music, actors understand the context within which they are performing. Dancers, therefore, are familiar with the time period or origin of the dance, they understand the emotions of a piece or what the choreographer is trying to express or intend.  Like actors, engaging performers, also “suspend disbelief” or, make the audience believe something even if it is not true or actual. Dancers pretend to be happy, curious, confused, or angry even when they are not. Much of being a convincing performer is making something seem real even to yourself – evoking emotions that were not present a second ago. Being real in acting also involves discovering what is natural or of human nature. In acting this might be conveyed by not ignoring a prop as it accidentally falls to the floor. In dance, it may be finding that natural smile as mentioned above. Becoming an excellent performer requires investigation of and experimentation with behavior (guided or otherwise).

Long experience has taught me that the crux of my fortunes is whether I can radiate good will toward my audience. There is only one way to do it and that is to feel it. You can fool the eyes and minds of the audience, but you cannot fool their hearts.
~ Howard Thurston ~

Super performers are secretive – This also relates to the idea of dancer as actor. Although acting is about revealing something to an audience, a good performer knows that playing one’s hand all at once is not a good idea. As a dance performer, you don’t always have control over the content of your performance. The choreographer ultimately is responsible for this. However, it helps, as you perform, to imagine you are keeping a secret from the audience. Think about how it feels to withhold something you want to share with someone else and apply that type of contained excitement or knowledge to your dancing. There may be natural points in the choreography in which you might build toward or reveal portions of this secret — like opening birthday presents one at a time. This may seem like a somewhat abstract idea, however,  I’ve found this imagery to be useful for depicting the fun in dance without relying solely on happy or joyful sentiments. After all, not every dance is happy but they can all have their secrets and the use of this technique has made for some compelling performances.

Remember that dance has a dimension beyond the physical. The body-as imperfect as it always is-is only part of the picture. Your energy, the quality of your movement, your feeling about the world, your dance spirit-that is what we see under the lights
~ Dance Magazine 3/05 ~

Super performers dance beyond their kinesphere – Kinesphere is a word used in dance that describes the space surrounding the body. It is the imaginary bubble that encircles your frame in stillness and as you move. Again, dancing beyond this bubble is something that you must IMAGINE as you dance, not necessarily something that you DO. Moving with a sense of directing or expanding your energy beyond your kinesphere will not only make you a more engaging performer. If practiced throughout your classes as well, projecting energy beyond your fingertips and toes, out through the top of the head, from your eyes, or even from every cell in your body, can improve your execution of the movement as well.

When it comes to the requirements for pleasing an audience, all the knowledge and instruction and apparatus in the world is worth less than one ounce of soul.
~ Ottawa Keyes ~

Thank you to Aya for including some wonderful dance quotes on her website!

So, what are YOUR secrets? What makes a performer enjoyable to watch? How do you engage an audience? In your observation, what qualities do great performers possess?

Why Superstars of Dance Was Not So Super

I am not an avid viewer of reality television and ultimately this holds true for reality dance competitions as well. I watch a bit if I happen across a show while channel surfing, and I occasionally check out some of the offerings on YouTube. But, for the most part, they fail to hold my interest. I do understand their appeal and why audiences are rabid about their favorites, I just don’t share the enthusiasm.

The platform, however, has brought about a renewed interest in dance that can’t be argued. What has been debated is whether this is good or bad for the dance world, and I suppose this depends on your perspective. (That’s another post, altogether). Some professional companies do seem to be benefiting from their exposure on television. Take this quote from a California newspaper for example:

Just ask the Alvin Ailey American Dance Theater. The New York-based company performed live on “Dancing With the Stars” and “So You Think You Can Dance,” and director Yvette Campbell said the dancers were treated with the utmost respect. Twenty million viewers watched the performance, about as much as has seen the respected company perform in its 50 years in existence. And when the company did its normal tour, seats were packed.

Actually, this is why, when news of NBC’s latest offering, Superstars of Dance, reached me, my interest was sufficiently piqued. What made me curious was the word that this show would be highlighting renowned dancers from different disciplines and different countries. I saw this as the next logical step and a great opportunity to begin transforming and deepening the general public’s (and for that matter, young dancers’) interest in dance as a performance art. As a company with great theatrical appeal, the Ailey company were perhaps the perfect company for getting people off their couches and into a theatre. The results they experienced after going “mainstream” into the homes of viewers offered encouragement that other dance artists could also inspire viewers to make this leap.

Great Expectations

My hope for Superstars was that it would prepare viewers for a wider variety of dance, offer them the tools to watch and understand the dances of different cultures and of different sensibilities. It was my wish that this would finally be the segue between Great Performances and SoYouThinkYou’reAmerica’sBest- DancingStarsearchIdol. I wanted something that would give us the “personalities” that inspire a following, a good look behind the scenes of professional dance, a showcase of dancers and companies producing compelling and exceptional work, and for once, a reality show that wouldn’t underestimate the ability of its audience to think for itself or appreciate art.

Perhaps I expected too much, especially from a show called Superstars of Dance. But, I don’t think it is too much to ask. It may have a lot to do with getting the right people involved in a project that will up the ante but, I can’t think of a better time than right now, when the public is ripe for more than just another dance competition show, to present such a project. I guess I see the renewed popularity of dance as a form of currency that those with influence could be using to showcase dance at its best. I keep going back to the idea that people generally rise to your expectations if you give them the tools and opportunity to do so. In the realm of dance made for television, the audience is given very little credit. They are rarely asked or challenged to appreciate anything too very far from what they know or have experienced.

So, what did we get with Superstars of Dance?

Well, despite seemingly good ratings, the show has not been well received by those writing about it online. Dancers and non-dancers alike found the premise and execution of comparing and scoring vastly different dance forms, senseless. There were complaints about the level of dancing displayed by those billed to be “the best in the world,” about the glitzy production, and annoying camera angles. Honestly, I have little to add to what’s been written and have done a bit of commenting on twitter and on some of the blogs that have already covered the show. I want to note that, even among the dance bloggers in this list, each author here has a vastly different background and emphasis, yet most had similar feelings about this show. You can read the reviews for yourself, they vary in intensity of hatred…

• Superstars of Dance a Disappointment – A Time to Dance (scroll down to see comments on this post)
• “Superstars” a total flop – Dance Outlook
• Superstars Night 2 – Swan Lake Samba Girl
• Supersuck of Dance – TenduTV
• ‘Superstars of Dance’ premier: Just…WHY? – Entertainment Weekly
• Puttin’ On the Glitz – Washington Post
• Superstars of Dance Misses the Point – Give Me My Remote
• TV Review: Superstars of Dance – HitFix

Conclusion

Superstars of Dance was far from super. The show did highlight some good performances, and some interesting spectacle, but fell quite short of its super-sized claims. For this reason, and because I think it patronizes viewers with lots of flash, little substance, and sugar-coating (to make the dance go down easier), it has ignited negative feedback. If for some reason you’ve recorded and not watched the show yet, I recommend heavy use of the fast-forward button. Skip every bit of judging and inane commentary and just watch the dancing. It is not the best the world has to offer. For now, you’ll probably have to get off your couch to see that.

POST UPDATE – 1/30/09

I wrote this recently on another blog, and felt it was good summary/re-cap of my thoughts on this show.

My feelings on the show are similar – it definitely fell short. I wanted to point out that while in our culture dance seems more clearly defined as separate from other arts, in some cultural traditions dance is, in a sense, synonymous with things like storytelling, music, and martial arts. So from our “western” perspective of dance, yes, this term was used loosely but I just wanted to point out that that would not necessarily be so in other cultures. HOWEVER, one of this show’s many shortcomings is that it offered no real opportunity for understanding or explanation of the dance forms presented. For a show which many thought was supposed to be a sharing and celebration of dance around the world, this was a major oversight. This ties in with my disappointment that producers chose to make this some sort of strange competition between apples and oranges, rather than truly sharing and celebrating diverse dance forms.

I also felt that many of the acts (not all, but many) chosen were highly theatricalized versions of the dance forms/cultures they represented. It was obvious they were picked not for the value they brought to the competition, not for enriching televised dance with a spectrum of great dance, but were selected according to someone’s preconceived idea of what a television audience might find “likeable.” It seemed almost a desperate attempt at a “sure thing,” in fact. I hope that the producers walk away from this (and maybe go back to the drawing board) knowing that their audience isn’t necessarily as fickle as they think.

Can Superstars be saved? Not in its present form (or anything like it), but I do think it is possible to have a program on television that actually DOES share and celebrate dance on a global scale.

Misnomer LIVE Update

If you missed the live broadcast of Misnomer Dance Theater’s performance last weekend, or if you want to see the second half with an unobstructed view, the archive footage is now posted here: http://www.misnomer.org/live/archive

Enjoy!!

“Being Together” Not a Misnomer

Earlier this evening, I had the privilege to watch and host Misnomer Dance Theater’s live broadcast of Being Together on Dance Advantage Interactive. It was truly an event and provided an opportunity for many viewers to “be together,” gathering to watch dance from their prospective parts of the world. The online audience outnumbered the capacity of the Joyce SoHo where the dancers performed, providing both greater exposure for the dance company (many of the online audience were unfamiliar with their work) and an opportunity to expose even young online viewers (kids as young as seven and eight years old tuned in for the show) to dance that they may never have seen otherwise. In addition to simply viewing the performance, online audience members were able to participate in a live chat, sharing their thoughts and general excitement over the opportunity to engage in such an event.

Aside from some technical difficulties during the last half of the performance, the video feed, camera work, and sound were of good quality. The experience was altogether different from attending a live performance in the traditional manner. I didn’t dress up, I didn’t have to find a place to park, I didn’t have to find a babysitter, and people, who could talk throughout the entire performance, came and left when they wanted! I look forward to a future in which more dance companies take their show online even if they can’t take it on the road.

As for the dancing, Misnomer’s performance was excellent. With a mix of Greg Brown, Chet Baker, and others, the musical score for Too Late Tulip was very enjoyable, as was the dancing and partnering work. As a fan of improvisation (especially in performance), I was particularly fond of Rock.Paper.Flock., details of which are written about here and here. I was a bit distracted from the final work Zipper because of a technical glitch that resulted in an obstructed view of the dancers, however I will have another chance to see the work at Misnomer’s website once the archived footage is posted. I encourage you to check it out if you were not able to see the performance live tonight. Teachers, please share this with your students and encourage them to visit as well! It is my understanding that the footage will be available soon and remain through December 31st.

Thanks to those of you that joined me at DA Interactive!

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