Artistic co-director, Maxine’s Studio of Dance, Vineland, NJ

NOMINATED BY: Joseph Hall-Conley, a 9-year-old student: “My mom signed me up for dance classes three years ago. I remember walking into my dance studio and how scared I was, but my mom said to try one class and if I didn’t want to go back, then I wouldn’t have to. I couldn’t wait to go back. Miss Kim is an awesome dancer and teacher. She started an all-boys class that rocks! Everyone who dances should have a teacher like Miss Kim.”

AGES TAUGHT: 3 through adult.

GENRES TAUGHT: Ballet, pointe, modern, jazz, tap, lyric, hip-hop, and partnering.

TEACHING DANCE FOR: 33 years.

Kimberly Chapman works with Joseph Hall-Conley, who nominated her to be a Teacher in the Spotlight. “Everyone who dances should have a teacher like Miss Kim,” Joseph says.

WHY SHE TEACHES: Dance was, and is, in my blood. I began my dance training at my mother’s studio in Vineland, New Jersey, in 1971. After graduating from Juilliard in 1988 with a BFA in dance, I danced with the Feld Ballet. After a fulfilling career as a performer I wanted to give back to the dance world. I have returned to my hometown and school with my mother to co-direct the studio.

GREATEST INSPIRATION: My mother, Maxine Chapman. She taught me that dance teaches dedication, discipline, and determination—not just pliés and tendus.

PHILOSOPHY OF TEACHING: Dance takes a step-by-step approach to learning. Dancers are taught that the harder you work, the quicker you will learn, and it’s a lesson they can use in all parts of life. Dance students are usually the busiest and most active students in their schools. They learn to budget time and have more stamina. The turns and jumps are great, but the life lessons that dance teaches are far more important. This was my mother’s philosophy, and I am passing it on.

WHAT MAKES HER A GOOD TEACHER: Diversity, diversity, diversity! I teach all modes of dance to all ages. My energy, enthusiasm, and love of dance inspire students. My extensive background in the Vaganova and Cecchetti styles of ballet and training in Graham, Limón, Taylor, and Horton help to train versatile dancers.

FONDEST TEACHING MEMORY: Opening boys’ eyes to see that dance is not just tutus and men in tights. With my boys class, we do jazz styles the first year. But the boys soon realize that if they want to do a double tour they are going to have to get into ballet class. If you show boys that ballet training pays off in their “trick” steps, they are willing to go the distance.

BEST PIECE OF ADVICE FOR STUDENTS AND/OR TEACHERS: Be honest—parents and students appreciate it. I tell my dancers, “I cannot lie.” If they did not finish their glissade in fifth demi-plié I tell them simply that. They soon learn that if Miss Kim says, “You did a good job today,” it is not just a pat on the head.

WHAT SHE WOULD DO IF SHE COULDN’T TEACH DANCE: I would be involved in dance in some capacity—choreography, performing, administration, management, visual designs, technical production, journalism, dance movement therapy, or even dance notation.

MORE THOUGHTS ON DANCE AND TEACHING: As artistic director of the nonprofit Vineland Regional Dance Company, affiliated with our school, I teach a contemporary ballet youth company. While ballet is the primary vocabulary, all dancers are required to understand the modern techniques of Graham, Limón, Taylor, and Horton. Many have become professional dancers, TV producers, Broadway managers, choreographers, and dance teachers.

DO YOU KNOW A DANCE TEACHER WHO DESERVES TO BE IN THE SPOTLIGHT? Email your nominations to David@rheegold.com or mail them to David Favrot, Dance Studio Life, 10 South Washington St., Norton, MA 02766. Please include why you think this teacher should be featured, along with his or her contact information.