“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.”
Dance Styles
Pointe Readiness and What To Expect
Every ballet dancer wants to dance en pointe. But not every ballet dancer should. How will your teacher decide if you are ready? Why might she decide you are not? And what can you expect from a pointe class?
Five Ways Postmodern Principles Can Positively Impact Your Studio
The exposure to postmodern principles and technique has so positively affected my experience with both commercial dance and concert dance that I would recommend that studios add it to their course roster. Young dancers who gain an early exposure to the world of post modern dance are only at an advantage in today’s competitive dance market. It will prepare them for careers as professional dancers or for success in a college dance department. The reality is that modern dance principles are gaining popularity throughout the dance world.
Profile of an American Icon: A Few Words With Paul Taylor
I feel very honored that Mr. Taylor took the time to answer a few questions about his life and work in an email interview. Paul Taylor is one of the most prominent and influential choreographers of our time. Yet, in the late 1940’s he was studying painting and swimming on scholarship at Syracuse University when amidst a series of seemingly unrelated dance experiences he was struck by a revelation or, as he describes it in his autobiography Private Domain a “flash of recognition… an unignorable hunch” that he was to become a dancer.
First of All — A Chat with Prix de Lausanne Winner Emanuel Amuchastegui
At the Prix de Lausanne, he performed a classical variation from August Bournonville’s La Sylphide and a contemporary solo, Caliban, from Cathy Marston’s The Tempest. In addition to winning PDL’s top prize, Amuchasetgui also brought home the “Audience Favorite” award. In the wake of his win, Amachastegui was kind enough to answer a few questions about his experience at the prestigious competition, his training, and his life outside of dance.
Teacher’s Top Three: Music for Adult Ballet
“Finding good ballet class music is so difficult. I am hard to please, and I want the music I choose to inspire my students, not just provide accompaniment. To that end, I have gone through a lot of CDs searching for ones that have good length, sound and quality. I use these CDs for my intermediate adult ballet class.”
