Archive for the ‘2009 | 12 | December’ Category

Columns
Ask Rhee Gold
2 Tips for Teachers
A Better You
On My Mind

Departments
Mail
Teacher in the Spotlight | Kimberly Chapman
Thinking Out Loud

Feature Articles
Ballet Scene | Broadway’s Ballet Boy by Maggie Kneip
Higher Ed Voice | Call Her Dr. Dance by Jennifer Kaplan
Lyrical Dance
Sizzling Seniors by Maureen Janson
Make Room for Musical Theater by Heather Wisner
Acting Out by Karen White
Monster Opportunity by Gina McGalliard
Tap Kids by Joshua Bartlett
Out of the Blue by Eliza Randolph

Advice for dance teachers

Hi Rhee,
Do you think it is OK for studio teachers to be Facebook friends with students? I know that technology is changing our world, but I wonder if this is crossing boundaries between teachers being seen as respected authority figures or buddies. —Maryann

Hello Maryann,
Good question. Facebook can be a valuable tool for both business networking and keeping up with friends and family. I don’t see “friending” students as a problem; instead, I think the key is what you post on your page. If you open your page to your students, it’s important to be aware of the image it presents to them. That means no comments about going out drinking, complaints about being depressed or dissatisfied with your job, or intimate details of your personal relationships. Nor should you post pictures that could be interpreted as indicators of irresponsible behavior. For those reasons, some of your students won’t want to friend you because they won’t want you to see what they’re up to when they’re not at the studio.

However, if you do want to allow your students access to your page, what you post should be what you are willing to present to the world. You can post comments, links, and photos with a positive perspective and limit more personal content to private forms of interaction.

Reconnecting with my former students—and having them connect with each other—through Facebook has proven to be a great perk. Before social networking, I would never have had the opportunity to stay in touch with this special group. Seeing who has gotten married, who is dancing professionally, and how others have become successful in other ways can be very rewarding—but sometimes it does make me feel old!

If you are still nervous about your students friending you, create a separate page for your studio business, where you can interact with students and their parents. Then limit access to your personal page to family and friends. Good luck! —Rhee

Hi Rhee,
I have an office staff member who is often abrasive and rude. Although she is very loving and caring, she struggles with tact when approaching people, mostly when she is stressed or frustrated. I have spoken to her about how to say things and addressed my full office staff on this topic, but I do not think she sees this as her issue; she tends to blame others when called on it. Now staff members are coming to me about her. I am not sure what to do. Do I send her to an “effective communication” course or just let her go? She has been with me for four years and has always gotten the job done. Please let me know what you think. Thanks. —Karen

Hello Karen,
This is not an easy problem to solve, but I do like your idea of sending her to a communication course. She might resist the idea, but you could make her continued employment conditional on attending it and showing changes in her behavior. If she won’t agree to taking the course or things don’t change, then you should replace her.

Some employees don’t recognize that they lack people skills or that others perceive them differently than they do themselves. Sometimes, when otherwise good workers lack communication skills, it is best to give them assignments that don’t require them to interact with the clientele; for example, you might have a smart, efficient, loyal bookkeeper who never answers the phone or deals with parents or teachers. I’m not sure what your employee’s job description is or how important her people skills are to your success, but you might consider letting her do her thing behind the scenes. With that said, a business owner will be a success only if her employees are happy. If this person’s job description is to communicate with the staff, then she’s just not the right person for the job.

Many school owners believe that what goes on in the classroom is what matters most to their success, and I can’t argue the value of that. But I also believe that employees can make all the difference to a school. The office staff and those who answer emails or the phone are the ones who make the first impression, long before potential clients have the chance to see what happens in the classroom. And current clients often become loyal (and stay for years) if they feel respected and appreciated. If they don’t, you might lose a big percentage of your clientele each season, and then what goes on in the classroom doesn’t matter anymore.
Good luck! —Rhee

Dear Rhee,
I own a studio in a small town. I am writing for any advice you can offer in regard to our upcoming recital, because we are at the point where we are selling out our shows. If we don’t change how we do things this year, we probably won’t have enough seats for all of our parents. The theater can seat 1,200 per show, and we have been lucky enough to grow in size a little each year. We have pre-sales for the parents, who are allowed to get up to four tickets at that time. Then, if they need additional tickets, they can purchase them when general sales begin to the public.

I am also concerned with the length of the show. Last year’s was almost 2 1/2 hours, and this year we have more dances, so I might need to shorten the running time. I was considering dividing the classes into two shows (one on Saturday and one on Sunday) and having the older students perform at both. If we split the performances, I worry about trying to keep all the children in one family in the same show, for the parents’ sake.

Booking this theater for multiple weekends is not an option. People have suggested that I simply add another performance, but if the show gets longer every year, that won’t help matters. I realize that I can’t make everyone happy, but I want to find a solution that won’t upset everyone either. Thanks! —Penny

Hello Penny,
I think the best solution is to do two shows. You may not be able to accommodate all the families who have more than one child performing, but you might be surprised at how many you can get into one show. Start by making a list of the families with more than one child, and refer to it as you create each show. Begin by placing siblings in the same show (if possible) and build from there. If you can’t accommodate all of them, you could offer the parents two complimentary tickets to the second show, and in most cases they will be happy with that.

My brother’s school does two shows and can put most siblings into the same performance. Most of the problems lie with the advanced dancers, who usually do end up in both shows, but those parents are used to having their children do lots of performing. I wish you all the best. —Rhee

Hello Rhee,
I moved the sofa out of my observation room, which is now a clutter-free “Zen” space and allows more parents to stand and peek in on class. I’ve never liked the idea of parents “camping out,” and the sofa seemed to encourage that. Parents allowed kids to jump on it like a trampoline, crawl all over it with their shoes on (not little ones, but 8- to 10-year-old brothers). Some used it as a diaper-changing station, and one mom regularly came early and stretched out for a nap while other parents stood.

Here’s what has happened now that the sofa is gone. Last night, the mom who liked to take naps brought in a lawn chair! It’s not like there is nowhere to sit in our studio—we have eight straight-back chairs near the front door so that dancers can sit while waiting for rides.

Should I ignore this? It’s just one mom. Confront it? This problem will spread like swine flu. If you think I should confront it, do you have any suggestions for how to do it? Maybe post a small sign explaining that this space needs to remain open to allow more parents to observe their children? Offer more comfortable seating near the front door? I have 5-foot benches I could put out there, but it would only take one large grandma plopping down on one end to turn it into a teeter-totter that’s not balanced, and she’ll get hurt.

I respect you as the Guru of Sticky Studio Situations. —Kelly

Hello Kelly,
It’s very interesting (and really hysterical) that parents need to be taught how to act in public places. Do not replace the couch. Allowing all parents to stand and observe their child in class without having to worry about waking a sleeping mom is your priority. I’ve always said that the waiting room or lobby should be clean and welcoming but kind of like the airport, where people can relax for a short period of time but can’t lie down or make themselves at home.

I do like the idea of placing a sign that says the space is to be left open to allow more parents to observe and having seating available near the front door.

All the best to you. —Rhee

 
By Mignon Furman

Tip 1
Stiff and strained-looking hands and fingers, along with thumbs that stick out, show tension in dancers. To help them relax, have them circle their wrists in both directions and feel their fingers move.

Tip 2
Visible strain in the shoulders and an extended ribcage usually indicate that dancers are not breathing correctly. Have the students place their hands on the ribcage with fingers pointing toward each other and breathe in very deeply, so that the space between the hands increases as the ribcage expands. Make certain that they do not raise their shoulders. Have them hold their breath and then blow out through the mouth (quite sharply); this should bring the ribs into alignment and relax any strain in the shoulders.

Feeling overwhelmed? Here’s how to say no to others and yes to yourself.

By Suzanne Martin, PT, DPT

Everyone would agree that the year’s end is a difficult time. It usually involves frantic list making, wrapping up the fall season’s dance programs, and facing increased family and social commitments. And then there’s coming to terms with what did and did not happen in the business plan for the year. If that isn’t a recipe for hyperventilating and an impending sense of doom, I don’t know what is.

“Just say no” is a familiar mantra against drug use, yet how many of us are addicted to the adrenaline surge of deadlines and the endorphin rush of people-pleasing? As a businessperson, my goal has been to always give lagniappe to my clients. I learned this French concept from business owners in my native New Orleans. Lagniappe means “a little extra something.” That means giving your clients more service, more friendliness—to dote on them in a sincere manner. It’s a sure-fire win in business. But where does it stop? Here are some ideas on how to tend to business and still enjoy a rewarding holiday time. We’ll boil it down into boundaries and self-sabotage issues.

Boundaries
Boundaries typically fall into two categories: personal and work related. Unfortunately, in the arts world, where what I call “dual relationships” are common, these two often become intertwined. Dual relationships happen when we become friends with or emotionally attached to our employees, colleagues, and clients. We want to provide meals, rides, and chore relief for sick co-workers, or help with carpools and babysitting for special students.

The key here is to differentiate lagniappe from charity and responsibility so that a shift of dependence in others doesn’t become a burden to you. Learn to recognize potential conflicts of interest before the relationship starts. Know the limits of what you can realistically deliver, and if possible, make a written policy to avoid disappointing those who need your help as well as yourself. Email lists are helpful in keeping everyone posted about health news or when organizing an assistance network for a sick or heartbroken person. I admire the preschool rules I hear about from my clients, which fine parents for every minute they’re late to pick up a child. Preschools know boundaries.

Feeling guilty about not coming through for someone is like putting on boots of lead—sure to slow you down. Of course, in extreme circumstances, such as a death in the family or catastrophic illness, letting others into the loop can lessen your load enough that you can do those labors of love. For those non-catastrophic times, decide what your boundaries will be.

For instance, in my practice, I allow limited email and phone consultations outside of office times when necessary. However, sometimes a client doesn’t understand that I cannot be responsible for wakeup calls and hour-by-hour physical meltdown consultations. So I have a protocol: I often use practice advisors—friends and colleagues in similar private practice settings, or former clients who were mentors in my life and can offer me objective viewpoints—to decide how to approach clients who have unrealistic expectations of personalized medical care.

I encourage small business owners to use business advisors. They can lessen the frustration of dealing with needy clients and give a third-party perspective about what is feasible in terms of service. (A nonprofit, national organization that specializes in small business advising is SCORE—Service Corps of Retired Executives.) Sometimes just talking to an advisor can create a dynamic change that will then allow you to move into the next phase of untangling a mess.

Self-sabotage
Often the most misunderstood boundaries are the ones we hold with ourselves. We may prefer to follow the path of least resistance, avoiding unpleasant confrontations; consequently we do not set limits on what we will tolerate and take on. This behavior often leads to resentment because we fail to identify the true source of our distress. The perpetrators are not the “others” who force us to take on more and more responsibilities, but ourselves, when we refuse to set limits.

Often the most misunderstood boundaries are the ones we hold with ourselves. We may prefer to follow the path of least resistance; consequently we do not set limits on what we will tolerate.

And sometimes we are enthusiastic and exuberant, wanting to be everything to all people, which often leads to “time-debt.” Time-debting behavior is seen in people who constantly run late or don’t show up after making many promises to too many people. What starts as a promise turns into a series of disappointments. This is a potential career-limiting move, since others will move away from an unreliable you.

Both of these scenarios point to lack of understanding of how long things take to get done as well as the inability to acknowledge our own limits.

Solutions
Take heart—putting the reins on runaway overbooking doesn’t have to squelch your productivity and joie de vivre. I surprised even myself when I added writing books, producing DVDs, and earning a doctorate to my already busy life. But I did have to learn tricks. Learning the limits of self-discipline requires trial and error. No one is perfect, so give yourself a break.

Look in the mirror and repeat after me: “I can change only myself, not others.” But to change a behavior, first you have to identify it. This is the idea behind mindfulness. Spend a week—OK, four days since you’re pressed for time—noticing all the times you add to your to-do list without really being invested in those activities. The idea isn’t to promote the “I/me/mine” movement, it’s to fully engage in and commit to what we’re agreeing to do.

Being overwhelmed scatters us. It keeps us from focusing on what we need to do to achieve the success we seek. Getting a grip on overbooking behavior can mean the difference in coping in the short term and achieving our goals over the long term.

Once we’ve decided what is meaningful to us, prioritized our interest areas, examined our motives, and resolved to forgo the unnecessary, the question becomes “What’s stopping me?” In his recent book, Excuses Begone! How to Change Lifelong, Self-Defeating Thinking Habits, Wayne Dyer offers ideas to help put less-than-useful behavior in perspective and plant the seed of change. He lists 18 excuses that keep us from doing all that we can for a fulfilling life.

One technique he recommends is to recite affirmations to yourself just before you go to sleep, allowing the brain to assimilate the desired effect during sleep. We are often overwhelmed by fears of not accomplishing everything we’d like to and frustrated when we can’t find time for the things that are important to us. Dyer recommends identifying your excuses and reversing them with a positive affirmation. Stir up as much feeling as you can muster for best effect.

Going a step farther is author Noah St. John, in Permission to Succeed. He believes that success is more naturally driven than failure because in nature success is crucial to ensure the continuation of the species. He says the brain responds better to questions than to statements (the usual format for affirmations) and that the brain is very good at negative self-talk (“Why am I so dumb?”). He advises “re-forming” the brain through positive self-talk in the form of “why” questions, which he calls “afformations.” He states that “Why?” is a motivating question to the brain, a command to seek an answer. His afformations concentrate on strengths, even if imagined, rather than deficits, using questions such as “Why am I so attractive?” or “Why am I presented with so many opportunities?”

Examining and working on your boundaries and practicing positive self-talk may take some practice, but why not start now? By January 1, 2010, you could be A Better You.

I have faith in you.

Words from the publisher

By Rhee Gold

I’ve got a couple of things on my mind this month. First, in October I journeyed to Melbourne, Victoria, Australia, to serve as a keynote speaker for the Australian Teachers of Dance. A few days before I left on my 26-hour flight, the reality that I would be speaking on the other side of the world hit me. I felt a little unsure of myself, which, when it comes to public speaking, has not happened to me in a long time.

Questions were running through my mind: What if these teachers’ issues were different from ours in the States? What if they had a totally different mind-set? After all, they live half a world away from the dance teachers I know. That doubt continued as I started my speech. I sensed a feeling of apprehension in the room—on my part, certainly, but also from the attendees. They looked serious; after all, they had no idea what I was all about.

My keynote was titled “Celebrate the Life!” and I just went for it. As a speaker, you develop an awareness of your audience’s body language, clues that indicate whether you’re winning over the crowd. You know you’ve got it made when, one by one, the attendees sit back in their chairs and take a deep breath. I could see on their faces that their brains were moving a mile a minute. It was so cool to watch them do that, then smile and nod in agreement, which just added fuel to my fire.

As my speech was winding down, I once again realized that all dance teachers, no matter where in the world they are from, feel the same respect for their calling. We all have “dance blood” flowing through our veins; we’ve all experienced the same joys and hardships. No more “what if” worries were running through my mind. After my talk, all the attendees I spoke to asked the same question: “How do you know so much about us?”

On another note, I have been on a committee of dance teachers from New England whose goal was to establish the Rosemarie DeLutis Boyden Memorial Fund, in memory of someone who was a dear friend to so many in our dance community. As dance teachers do, we decided to put on a show.

During the last few weeks before the event, we dealt with worries about ticket sales, planning a rehearsal schedule, choosing backdrops and lighting. It was a unique experience to be working together on the same show, and the sense of comfort that comes with sharing responsibility with others added to the fun.

The show was excellent, with the audience literally dancing in the aisles—what an awesome tribute to Rosie! And it proved that dance educators who join together to make something happen can do just about anything—and have a great time doing it. “Everything’s Coming Up Rosie” is over, but everyone involved will remember Rosie and the experience with a big smile. That’s what it’s all about!

Words from our readers

The magazine gives me inspiration, keeps me grounded, and gives me teaching suggestions. I enjoy the techniques section where teaching skills (how to improve turns, body alignment, and the like) are explained. I also like the articles that feature suggestions on how to create music collections and use technology for performances. I am too much of a people pleaser sometimes, so the magazine helps me deal with “letting some students go” or not trying to be all things, how to enforce dress codes without being crazy, and things like that. Thanks.
Cyndy Shreffler
Ballet Shreffler
Troy, OH

Readers respond to Diane Gudat’s story, “Dance Studio Lingo,” October 2009

Share this one with my friend Diane; we had many great years judging together. “Shower step”: a tap step choreographed in the shower—a great combo but somehow virtually impossible to do when not soaking wet. When I came in with a new combo, my students always knew if I created it in the shower!
Danie Beck
Dance Unlimited
Miami, FL

Loved this! What you call “Ara-second” we call “Sec-abesque.” We also have “piquévé,” which is doing a piqué by climbing up onto a bent leg first and then straightening it.
Love the “careography,” “peek-a-pants,” and especially the “side moon”—brought a chuckle to my day.
Barb Lotsberg
Barbi Lee Dance
Minnetonka, MN

I have just read the vocabulary list by Diane Gudat—how funny. We label our crazy parents as family members—the crazier they are, the closer members they are. For example, the craziest are labeled a certain teacher’s sister or mother. The lesser of the crazy moms are called aunts and cousins. Thanks for the good laugh!
Cathy Finne
Artistic Director, Studio 1014
Jacksonville, FL

“Ballet blow-out”—that shoe where the big toe is peeking out from a hole in the bottom of the shoe. “Scenic tour dancer”—one who never spots and takes a “scenic tour” around the room while turning.
Kim Rowley
Academy of Dance
Warner Robins, GA

I am never disappointed! My partner and I laughed out loud at Diane Gudat’s dictionary and so appreciated the advice regarding recession effects. We are personally experiencing these as well and face many of the same issues. Every day we remind ourselves that we are lucky to have a job (many of our clients do not) and especially one that allows us flexibility of scheduling and time with great kids. It truly is a roller coaster! Thanks as always for a brilliant publication.
Melanie Gibbs
Boca Dance Studio
Boca Raton FL

I cannot tell you how much I needed this [DSL, October 2009]! I question myself and my choreographic choices constantly (using shorter pieces, older and odder songs, conservative costumes, etc.), and the competition article [“Smart Ideas for Small Dances”] was great! I also thoroughly enjoyed Diane Gudat’s terminologies [“Dance Studio Lingo”]. With a day job, a studio to run, teaching 95 percent of the classes in my studio, and a 9-month-old at home, I can barely find time to breathe. But I always enjoy reading your emails and magazine!
Patty Nowak-Briggs
Charlotte Braun Dance Studio
Parma Heights, OH

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.

By Paul S. Brittain

The little girl on the end of the line is crying hysterically. Another girl is watching the child beside her, who seems to be the only member of the baby ballet group who knows every move. At least she’s making it appear that she knows all the moves. There are missteps, stumbles, and several tots who simply stand in place during the entire number. The scenario could be from any beginning number at any dance school anywhere. But one thing is certain: The crowd loves it.           

From my seat in the back of the auditorium, I can watch this performance between the numbers I’m announcing for the 35th-anniversary dance concert of my sister-in-law’s school, Larraine Susa’s Dance Unlimited, in Uniontown, Pennsylvania. I turn to the man who is handling the stage lighting and tell him, “I always wonder which of these kids will someday make up the senior dance company, become Miss Dance of America, or dance on Broadway.” He chuckles as the number ends with the line of toddlers marching offstage to raucous applause. One precocious little girl stops just before disappearing behind the curtain, bows, and blows a kiss to the crowd.

I’ve been a dance teacher’s husband for 28 years now, and I’ve gotten to see quite a few aspects of the world of dance. There has been plenty of travel to major cities such as New York City and London, along with competitions and performances both near and far. We have watched many children grow up to become national winners, Radio City Rockettes, dance teachers and next-generation dance moms. There have been many marriages and some divorces. A few former students are no longer living; others have successfully fought cancer or other serious illnesses.

Many of our memories are preserved in piles of recital program books, boxes, and albums of pictures. I even have the autographed pointe shoes of one of our longtime favorites displayed on an upstairs bookshelf.

My wife and I have no children of our own. But the dance school students have been our “kids,” so to speak. In our younger years, we hosted sleepovers at our home, when I would inevitably ask my wife questions such as: “Don’t kids ever turn the light out when they leave the room?” “Don’t kids ever wash the cereal and milk out of the bowls before setting them in the sink?” Or “Do kids always waste so much food?” We didn’t realize that through those experiences we were playing roles that we’d later see on “reality television,” years before such a catchphrase would be created. Can you imagine: Paul and Kathleen Plus 12?

My wife and I have no children of our own. But the dance school students have been our “kids,” so to speak.

When the little girls at those sleepovers grew into their late teens, one of them became a pageant finalist. When she misunderstood the final question and answered it incorrectly, my wife and I felt the kind of agony we imagine her parents must have experienced.

And the young woman showed great maturity after placing as fourth runner-up and learning about her faux pas, saying, “Oh well, that’s the way it goes.”

A group of those former students gathered for dinner after the anniversary show, reliving old times and catching up on the changes in each other’s lives. It was obvious how all those dance classes had prepared those former baby ballerinas for adulthood and formed lasting bonds of friendship. Pointing to my gray hair, I tell them, “While we were watching all of you grow up, we were all growing old.”

To me, every little girl or boy who walks through the dance school doors each night is a winner. These kids don’t need titles, trophies, plaques, or platinum medals to prove it. Obviously, their talent levels aren’t equal, and not everyone continues into a career in the dance world.

The value of dance training extends beyond the limited perception that only professional dancers have benefited from those hours of sweat, aches, pains, laughter, and tears spent around the barre. The discipline, social interaction, and exercise prepare students for future life experiences in the workplace, marriage, parenting, and for dealing with the unknown successes and disappointments that lie ahead. Best of all, an extended family has been created.

In this case, I’m proud to say that it’s my extended family.

Young David Alvarez branches out with Billy Elliot—but holds tight to his dream of a ballet career

By Maggie Kneip

Where will young, multitalented, Tony Award–winning David Alvarez go after he leaves the Broadway run of Billy Elliot? You can rest assured it won’t be Disney World. Or another Broadway show.

“David will return to ballet,” asserts Billy Elliot associate choreographer Kate Dunn.

Franco De Vita, principal of American Ballet Theatre’s Jacqueline Kennedy Onassis School, where Alvarez trains, says, “David will come back to dance with us full-time.”

And young Alvarez says, “The experience of being on Broadway has been just amazing. But I don’t want to continue with it. My dream is still to be a ballet dancer.”

He may, however, be starring on Broadway a little bit longer. Billy Elliot: The Musical, nominated for a record 15 Tony Awards in 2009, won 10 of them, including a shared award for Best Actor in a Musical for the teens in the title role—Trent Kowalik, Kiril Kulish, and Alvarez. (Alex Ko took over Kulish’s role in October, and a fourth actor, Tommy Batchelor, joined the roster of Billys last March.)

Based on the eponymous British film released in 2000, Billy Elliot boasts a rocking score by British pop icon Elton John and tells the poignant tale of a young British boy from a coal mining town who dreams of becoming a ballet dancer. So it would stand to reason that the production would seek to cast young ballet dancers in the role of Billy.

But when they envisioned the musical, the show’s producers knew that for the theater’s seats to be filled nightly, the choreography had to stretch far beyond ballet. With that in mind, choreographer Peter Darling and his associate, Dunn, conducted a nationwide search for three boys with ballet training who could also quickly master tap, jazz, stage combat, and gymnastics, plus learn to sing and act using a Geordie (northern England) accent.

One candidate was Alvarez, the son of Cuban parents, who spent his first eight years speaking Spanish, French, and English and playing football and soccer in Montreal. Aware of her son’s physical prowess, Alvarez’ mother, Yanek, an actress, felt that his skills would be better channeled into the arts and enrolled him in a beginning dance class at Montreal’s Ballet Divertimento. There, according to Alvarez, “I wasn’t really doing ballet. We just sort of walked around.”

But when his father, David, relocated the family to San Diego a year later and 9-year-old Alvarez began taking class at the California Ballet School, his interest in ballet was ignited. Three years later he was accepted to one of ABT’s regional Summer Intensive Programs, in San Diego. According to De Vita, “He was noticed immediately by our ballet mistress, Nancy Raffa, who met with his parents and quickly arranged for him to study with us in New York.”

De Vita was particularly thrilled to be bringing into the JKO School family a talented male dancer as young as 12-year-old Alvarez. “Ideally, we like to bring male dancers into our school at that age. But we tend to get them older, at 15 or 16, when they are more open to studying ballet and their families are more accepting.”

Two years after Alvarez began studying at ABT, the Billy Elliot producers contacted De Vita. “They were looking for three boys to play the lead role,” De Vita says. “We sent David, who was the age they were seeking. But I also knew he would be right for it, and that he was talented and intelligent enough to handle everything performing in a Broadway show requires. Not every young dancer can handle it. David is smart. I knew he could do it.”

The show’s producers, however, needed to be sure. Alvarez was one of hundreds of candidates; an exhaustive search was conducted at dance schools and companies nationwide. A first cut yielding approximately 30 boys was soon whittled down to 15, who then underwent one intense week of acting, dancing, gymnastics, singing and dialect training, and assessment.

Finally, three were selected. Upon learning he was one of them, Alvarez was excited—and relieved. “The only thing I had in my head before they picked me was: Was I going to be picked? Because I didn’t want to do all this other training for no reason. I didn’t want to be a tap dancer or a singer. I wanted to be a ballet dancer.” 

Approximately six months before opening night, the real hard work for the three boys commenced. Dunn says, “For the first three months, we arranged to have each boy undergo training in jazz, tap, gymnastics, acting, and dialect in his hometown, working with the best coaches and schools we could find in those locations.”

Playing Billy takes focus, a tremendous work ethic, and a commitment to technique—and Alvarez says his ballet training prepared him for the role. Even now, he says, “I make sure I get to class, no matter what.” (Photo by David Scheinmann)

David was already in New York, where the other two boys joined him for the next critical three-month period of integration with the entire cast, as well as acclimation to the Broadway rehearsal process.

As the youngster became immersed in preparing for the show’s opening, his parents were worried that he’d be lured away from his dream of becoming a ballet dancer. De Vita says, “When David was first cast, we had a talk with his parents. They were a little concerned in the beginning. But we convinced them that we believed that, after the show, David would come back to us full-time and that he could be back on track with no problem.”

In fact, De Vita sees Alvarez’ involvement with Billy Elliot as a great opportunity for him to grow artistically. “I think it’s very good for a ballet dancer to be a bit more open, and not think ballet is the only dance,” he says. “The tap and jazz that he is now doing greatly enhance his ballet training. Tap is good for musicality; jazz, for coordination.”

Nor did Alvarez’ instructors at ABT worry that his Broadway commitment would cause his ballet technique to deteriorate. “David is so talented, so intelligent, and his training at ABT/JKO has been so classical, so pure. I have no doubt he will always have our training in his body, and he will always be able to come back to it,” says De Vita.

The Billy Elliot choreographers are equally protective of Alvarez’ talent and love for ballet. According to Dunn, “David is a very beautiful ballet dancer. During our entire run we’ve been pleased that he’s been able to keep two parallels running—his Broadway work and his serious pursuit of ballet.”

As the show, which opened in November 2008, moves into its second successful year on Broadway (plus a 2010 national tour), its young stars continue rigorous daily training, which Dunn has jocularly titled “The Billy Elliot Maintenance Schedule.” It includes study of acting, singing, dialect training, acrobatics, tap, jazz, and stage movement—as well as ballet.

In addition, Alvarez makes sure he gets to a ballet class five days per week. “I go to the intermediate class at ABT whenever I can, depending on my schedule. If there’s a day I can’t get there, because of rehearsal or something, I fit in a class at Steps [on Broadway]. I make sure I get to class, no matter what.”

The way Dunn describes the requirements of the role, it seems miraculous that Alvarez can get to ballet classes at all. But, she says, “to do this role, you have to be exceptionally focused—to have an exceptional work ethic. David has it—all the boys have it. The Billy Elliot character has to be on stage for a total of three hours, all the while singing, acting, dancing—using dialect. There is no other show requiring the same commitment from kids.”

And Alvarez claims to feel prepared for the rigors of the role precisely because of his ongoing ballet training. “First, my ballet training prepares me physically, technically,” he says. “If you don’t have good technique going into this role, you might get hurt—get a sprained ankle, stuff like that. Ballet class has gotten—and keeps—my body ready for this.”

Next, he credits ballet for teaching him how to perform on the big Broadway stage. “When you learn ballet as a child, you learn you have to prepare, to be there. Same for Broadway. But there are differences,” he adds. “For example, in ballet I would never turn my back to the audience. There’s much more opportunity to do that kind of thing in theater.”

Finally, Alvarez attributes his capacity for the discipline his role requires to his ballet background. But he cites a pronounced difference here. “In ballet, you must use discipline, no matter what. And your teachers work with you to have it, constantly. In theater, you feel like you work for yourself more.”

Dunn, a former dancer with The Royal Ballet, concurs. “There is nothing as disciplined as being a ballet dancer. It requires complete focus, and that you essentially erase everything else in your life. Your life can only be about ballet.” She adds, “ And that’s a beautiful thing to be able to devote your life to!”

Alvarez, De Vita, and Dunn all seem to agree on one thing: Studying all forms of dance can only be beneficial for today’s aspiring young ballet dancer. Says De Vita, “Take a look at modern dancers today: Most take ballet for complete training. And ABT ballet dancers need to learn how to dance all kinds of forms—including jazz and modern—for our repertoire, which spans from classical to contemporary. I’ve taught at Alvin Ailey, and many of their dancers take class with us at ABT. When you ‘arrive’—when you reach the top of your training, you make a choice. But to be trained a little bit in everything, on top of a solid foundation, is now the way to go.”

Alvarez is proud of his Tony Award, but his eyes really light up when you ask him about his favorite ballets. “Giselle and Sleeping Beauty,” he responds. His favorite male dancer? No surprise here: “Fernando Bujones!” whom the young dancer is already said to physically and technically resemble.

About what’s next, Alvarez claims, matter-of-factly, “I’ll be in the show until my voice breaks. But then,” he adds, smiling, “I’ll go back to ABT full-time. I just love dancing ballet!”

The rising tide of PhD studies in dance

By Jennifer Kaplan

Just call them doctors, these newly minted PhDs of dance studies. They’ve completed rigorous academic training. They’ve performed quantitative and qualitative research. They’re in hot pursuit of a degree in dance studies, the relatively young but burgeoning discipline that examines the field from multiple frames: historic, sociological, philosophical, epistemological, and somatic, to name a few.

R. Diyah Larasati, who holds a doctorate in dance history and theory at the University of California-Riverside, performs with the university's Javanese Gamelan Ensemble. (Photo by Steve Walag)

Dance as academics
Dance is mainly thought of as an ephemeral and physical art form, rarely as an academic pursuit. Both within and beyond academia, many wonder what a PhD in dance studies might do, for even in 2009, a majority of dance departments around the country are staffed with retired professional dancers or professors who earned MFAs and PhDs in other disciplines like theater, cultural studies, or performance studies.

“Dance as a[n academic] discipline for so many years was marginalized,” notes Dr. Luke Kahlich, a professor and doctoral coordinator in dance at Boyer College of Music and Dance at Temple University in Philadelphia. “While it has a notation system, it’s really not used widely like in music, so it’s often difficult for other academic disciplines to see that dance really is a rigorous academic discipline.”

Jacqueline Shea Murphy, associate professor at University of California–Riverside, puts the PhD in dance studies in context with other arts disciplines: “Why a PhD in art history or performance studies? We should have the conviction and passion to see dance as something worthy and deserving of sustained scholarly engagement, and to have the same tools that scholars have been bringing to other forms. We ask questions about gender, questions about philosophy, questions about politics and society. Scholars have brought these questions to many different forms, from literary studies to political science to anthropology.” So, she asks, why not dance?

Why PhDs?
Even with hundreds of undergraduate dance programs around the country, many in academia still wonder if a doctoral degree is necessary. And might the field face a glut as candidates complete their dissertations and exams at the four doctoral programs in dance studies in the United States? But beyond teaching in universities, those with doctorates in dance work at arts agencies and public policy groups across the country. And within academia, the need for highly qualified teachers who can teach upper-level courses in theory, history, and interdisciplinary topics has grown in recent years as university administrators begin to recognize dance studies as a legitimate academic field. Dance studies bridges study of movement-based techniques with topics as diverse as somatics, educational policy, historiography, and cross-disciplinary uses of technology, to name a few.

Options and new directions
In recent years, the field has grown richer and more complex, as evidenced by the increasing number of scholarly articles and books on dance published by university presses. While in the past many dance academics earned their doctorates in other disciplines—from education to literature to performance studies and anthropology—today students are seeking out dance studies. (One program, Texas Woman’s University, received 50 or 60 applicants for 8 slots last year.) And PhDs can take scholars beyond the tenure track: Many recently minted PhDs are breaking into leadership roles within academia, into scholarly groups like the Society of Dance History Scholars, and into policy-making organizations.

One of the most established programs, at Texas Woman’s University (begun in 1958 in Denton), caters to current academics seeking to enhance their credentials for promotion opportunities or moves to more prestigious universities. Dr. Penelope Hanstein, professor and chair of dance, explains that TWU recently revamped the program, shifting to a low-residency requirement that accommodates professionals’ academic schedules. (In low-residency programs, students meet for intense periods during the summer and one-week visits during the fall and spring semesters, with course readings and discussions continuing online throughout the year.)

A typical student, according to Hanstein, “has been engaged in artistic practice for a number of years and has reached a point where he or she wants to start theorizing that artistic practice. I see an interest in writing, in pursuing specific research agendas—and the doctoral degree will facilitate continued professional development.”

Few prospective applicants arrive without a sense of what areas of study they intend to pursue. “Our program is not a default degree to do because [a student] doesn’t know what else to do,” Hanstein notes.

Four programs, four focuses
Each of the American doctoral programs in dance maintains a distinct focus. UC–Riverside prides itself on the diversity of its master’s and doctoral candidates and on its emphasis on cultural studies, says Shea Murphy. “Our program is good for students who are excited by thinking about dance and its meaning and want to do so alongside an exciting group of faculty and students.”

As in the other programs, applicants are required to have a movement practice to be admitted, but it needn’t be in a traditional form like ballet, modern, or bharata natyam. “My practice these days is yoga,” says Shea Murphy. “We have people who have a Mexican folklorico background; people who have a ballet background; people who have a hip-hop background.”

TWU’s focus on theorizing artistic practice, Hanstein says, means that “at the core it is a research and writing degree; that’s the credential of a PhD. People are engaged in a variety of artistic practices; though they may not be currently making a lot of work, they definitely have that experience.” She emphasizes that the dissertation involves original research, experimentation, and writing; presenting a choreographed concert (an MFA requirement) isn’t enough.

Temple’s program focuses more on educational and quantitative research. “We have people who are writing about brain and learning theory, cognition, and teaching about dance,” says Kahlich, the chairperson, who notes that movement practice is highly encouraged. “The PhD is geared toward that kind of study of the discipline.”

Of the newest doctoral dance studies program, at Ohio State University, chair Susan Van Pelt Petry says, “We are attracting students who already have an MA, or in some cases, an MFA in dance or in a related area such as ethnography or dance education, but who have experience of dance. We do expect dancers who are artist-scholars and require that they have had some kind of physical practice so that their research is rooted in movement experience.”

“We have people who are writing about brain and learning theory, cognition, and teaching about dance. The PhD is geared toward that kind of study of the discipline.” —Dr. Luke Kahlich, doctoral coordinator in dance, Temple University

Ohio’s program is still defining itself, but Van Pelt Petry points to the department’s longstanding relationship with the Dance Notation Bureau in New York: “We house the DNB Extension office here and there’s been a long history in this department of movement analysis and movement notation. With that and with the increasing technology interest and strengths in our program, we realized we could offer a unique PhD program.” This is Ohio’s third year offering doctoral courses, and its first cohort of PhD candidates—three—will graduate in 2010.

Getting a job
The big question is where these PhDs can find work. “None of us can foretell the future, and the economy is putting a damper on a lot of things,” says Karen Eliot, a former Merce Cunningham dancer, now an associate professor involved in creating OSU’s program. “We see PhDs in art history who are going into public advocacy work [and] governmental and funding organizations. This opens up possibilities for dance to be at the table with the other art forms. The field will have people with the credentials to work in governmental organizations.”

John, 44, a PhD candidate at TWU, is realistic about his chances of getting a coveted faculty position, especially in this tight economy. “Because of budget cuts, I don’t think there are going to be all these junior track jobs out there. I’m concerned that there won’t be jobs. You may need to do something else as a minor, or focus on writing. If you’re just doing [a PhD] to be a full professor at a university, I don’t think that’s the full reality anymore,” he says.

A bright future?
But Eliot believes opportunities for PhDs in dance studies will expand: “We have to think beyond what we’re doing at the academic level and think about what is happening at arts organizations and government and funding agencies. Let’s see what happens if we get trained, educated, smart people in dance. It can only help us.”

Hanstein concurs. While the majority of TWU’s graduates return to academia, she says, “we envision them going into things like arts leadership, arts advocacy, policy work.”

Byron Richard, 52, a former dancer with Bebe Miller and Nina Wiener, formed his own company before pursuing a PhD. He was working in professional development with teachers at a state educational agency in Minnesota and felt he needed more research skills to progress in his job. With his wife’s consent, he moved the family, including two young children, to Philadelphia to enter Temple’s doctoral program in dance studies.

“At Temple, I lucked out,” Richard says. “I found the qualitative research focus had an impact on what I was interested in, and my research experience was very action oriented. We were in classrooms: I was doing phenomenological interviewing of teachers, doing interpretative studies, talking to kids, collecting a variety of qualitative materials almost immediately. I was basically building a repertory of approaches to qualitative research and sensed that this could have some value for classroom practitioners. So that thread carried through.”

His dissertation, “ ‘Daddy Root Me In’: Tethering Young Sons in the Context of Male Intergenerational Child-Centered Dance Education,” grew from his in-depth research and studies in various methodologies. Today, an education research coordinator at the Perpich Center for Arts Education in Minnesota, a state agency, he credits his doctoral education for his success: “I was able to work with arts educators more broadly through action research and particularly collaborative action. The PhD studies really had the most impact in exposing me to a variety of methodologies and action research.”

Is it for you?
Most doctoral candidates take four to seven years to complete their degrees, and while some receive stipends or assistantships from the university, many finance their education through loans and private grants or personal funds. There’s some concern that students are seeking doctorates in order to avoid dealing with the current dismal job market.

Hanstein notes: “A PhD isn’t for everyone. I think unlike so many other fields in academia, those who decide to pursue a doctoral degree in dance often are interested in a career shift and are driven to research and writing. Dance is at its core a practice-oriented field. Those of us who came into the field as dancers and choreographers—that’s where our life is. So doing doctoral work isn’t necessarily for everyone.”

Doctoral Programs

Doctoral programs in dance seem to be small and individualized. Some vary the number of slots depending on how long current students are taking to complete their degrees.

Ohio State University
Department of Dance, 1813 N. High Street, 022 Sullivant Hall, Columbus, OH 43210
Chair: Susan Van Pelt Petry
dance@osu.edu
dance.ohio-state.edu/4_degree_programs/PhD.html

Admission requirements: MA, 3.5 graduate school GPA, official college transcripts, GRE scores

Core courses: Modes of inquiry in dance; history, theory, and literature of the analysis of movement; history, theory, and literature of choreography; resource seminar; competency in one foreign language or current system of dance notation or movement analysis

Temple University
Esther Boyer College of Music and Dance, Philadelphia, PA 19122
Chair: Dr. Luke Kahlich
boyer@temple.edu
temple.edu/boyer/dance/index.htm

Admission requirements: Personal data sheet, PhD questionnaire, writing sample, curriculum vitae, audition/interview/professional presentation

Core courses: Dancer and the dance medium; dance and the gendered body: historical perspectives; meaning in dance; black performance; problems in dance research; dance in higher education; research partnerships; aesthetic and philosophical inquiry; research structure: dance ethnography

Texas Woman’s University
Department of Dance, P.O. Box 425708, Denton, TX 76204
Chair: Dr. Penelope Hanstein
dance@twu.edu
twu.edu/dance/doctoral-program.asp

Admission requirements: MA in dance or related field, or equivalent professional experience demonstrated by a record of significant scholarly achievement (dancemaking and/or research and writing); academic record reflecting the ability to pursue advanced study; proficiency in written, verbal, and movement communication skills, teaching, performing, choreographing, and/or other related experience

Core courses: Scholarly inquiry in dance; epistemology of the body; movement observation and analysis as a research tool; aesthetics of art-making; designing online learning; experiencing the virtual body in space; pedagogical foundations for dance; issues in historical inquiry; curriculum inquiry; guest artist workshop; philosophical inquiry; performance and pedagogy of scholarly writing; theorizing performance process; qualitative research methodologies; theory analysis and theory development research; research colloquium; seminar preparation for qualifying examinations

University of California–Riverside
Department of Dance, 900 University Avenue, 121 Arts Building, Riverside, CA 92521
Chair: Marta Savigliano
danceadvising@ucr.edu
dance.ucr.edu/

Admission requirements: Statement about experience in dance history and theory; previously prepared research paper or the equivalent; working knowledge of movement; acquaintance with movement observation and analysis; preparation in general historical and cultural studies; GRE scores

Core courses: Political approaches to dance studies; historical approaches to dance studies; rhetorical approaches to dance studies; cultural approaches to dance studies; six additional graduate-level courses are required, plus competence in a language other than English. Specific requirements may be determined for each student.

What is it? There’s a definition for every taste.

The dance studio owner was confused—and more than a little angry. When her lyrical dance students go to competitions, she said in an audience forum at the DanceLife Teacher Conference in August, they sometimes find themselves competing against kids specializing in modern dance and other genres. She asked: How can judges lump different disciplines into a single category and make sense of it?

Part of the problem may be that there’s no universally accepted definition of lyrical dance. Dance Studio Life sought opinions from a broad range of the dance world, and the responses we got fell into these categories:

It’s jazz
We consider lyrical to be one of many jazz styles, rather than a stand-alone technique. I guess you could say that we like and appreciate lyrical as a facet of jazz, just not as its own genre. Broadway, Latin, funk, lyrical—we think all of these styles belong under the umbrella of jazz. Lyrical itself, I like to think, is jazz with a heavy shot of ballet, danced with emotionally charged music.

I think sometimes the words “lyrical,” “contemporary,” and “modern” are used interchangeably, which can be confusing. We strive to be clear that modern is different; it is not a fusion of styles the way lyrical or contemporary may be. Which leads us to: What is contemporary? Is it postmodern, new choreographers? A specific style, a mix of modern and lyrical? It’s a slippery slope, this discussion! —Julie Holt Lucia, owner/director, Studio Dance Centre, Frisco, TX

It’s a slow-moving jazz. You feel a story through it. It’s colorful, with many different emotions. —Kehree and Pierre Lacasse, Vanleena Dance Academy, Vancouver, British Columbia, Canada

It’s ballet (sort of)
It’s a type of dance that retains the fluid (and feminine) quality of ballet without its formal constraints—and it typically has a strong emotional or melodramatic/narrative component. Most of the companies I’ve seen that describe themselves as “lyrical” also tend to be teen-based rather than professional. —Sophia Emigh, dancer and writer

Lyric is what ballet would have been if Cecchetti had been a 20th-century American teenage girl. It keeps the line and the proper basic technique but throws restrictive rules out the window. It replaces, for example, static third-, fourth-, and fifth-position arms with “reaching, yearning, clutching” arms. You do a technically proper double turn but end crumpled on the ground. You pas de bourrée but add a head roll. You’re in second position but on your knees.

Ballet was born of royalty in a time and place when people followed strict standards of behavior and an unbreakable class/caste system. Lyric is the beauty of ballet infused with the freedom of today. —Karen White, teacher, Spotlight Dance Studio, Taunton, MA

It’s ballet plus story
When I choreograph a lyrical piece, I choose a song and try to absorb the lyrics and the story of the person singing. I listen until I have a clear feel for the story. If I don’t get a story, I move on to a new song. You can’t force a connection. The choreography for lyrical has to be genuine and it has to have emotion. It has to connect the singer to the choreographer and the choreographer has to make her translation of the song connect for the dancer.

In ballet, you have perfection—perfect lines, perfect balance, perfect dancers, perfect turnout and perfect technique. In lyrical, you have something different. Testing balance until you fall, playing with traditional lines, and even a little choreographed imperfection all help your audience feel the story and emotion of the song. Lyrical dancers use their ballet training to heighten the contrast between the fluid technical movements and the emotionally inspired ones. —Kerin Jeanne Martinez Buxton, teacher, Tarrytown Dance, Austin, TX

It’s ballet plus jazz
I define lyrical dance as a mix between ballet (technique) and jazz (spontaneity). I have always been able to connect to the music more in lyrical than in ballet because it tends to have more gut-wrenching choices than classical repertoire. Lyrical allows me to express myself more than any other dance form I have tried. Although I still maintain the technique I have worked endlessly on in ballet, in lyrical I can finally let go. In lyrical your body connects with the music to tell a story, but you don’t have any of the limitations [of] ballet. I love teaching lyrical to classically trained ballet dancers because I come from that background. It’s amazing to see them let go and dance from the heart and the gut. My favorite people to teach lyrical to, though, are those willing to take the risks required and show their vulnerable side. —Michele Camozzi Schmidt, instructor of dance, Santa Rosa Junior College, Santa Rosa, CA

Lyrical is a combination of jazz and ballet technique that interprets the lyrics of the music. The reason that kids love lyrical is that dancing to the feeling of the music comes so naturally to them. If I put on music and ask the dancers to freestyle, often they end up looking fluid and emotional. It looks like lyrical. —Molly Kaleikilo, artistic director, Innovative Dance, Wilsonville, OR

It’s a mix between jazz and ballet, like a balletic jazz. It requires a lot of the technique taught in ballet but it’s not as perfection-seeking as ballet. In lyrical you’re still working on fine-tuning your body, defining muscles, gaining strength, but you get to let loose a little more than in ballet. The combos we do in lyrical allow me to express myself at a more human and personal level than ballet, which often requires you to put on a certain character or façade. Not that I’m saying ballet is fake—but I feel like in lyrical I can put more of my personal emotion into it. —Erin Strand, former student, Petaluma School of Ballet, CA

It’s a mix of ballet and jazz, but it is freer than ballet. It still requires a lot of technique, but it allows you to concentrate on the movement and not so much the technique. —Morgan Sheppard, former student, Petaluma School of Ballet, CA

Colleen Walsh and Christopher Howard of Zodiaque Dance Company at the University of Buffalo in New York display the direct emotionality typical of lyrical dance.

It’s ballet plus something else
Lyrical is a style of dance in which the performer expresses deep personal emotions through a connection to both the music and lyrics of a song. It uses an applied technique borrowed from ballet, modern, jazz, and other world forms, often abstracting their shapes and forms. Gesture, pantomime, and other acting elements are layered on the movement to enhance the interpretation of the dance. Lyrical dancers, like actors reading a script, are in search of their character’s identity, which they discover as they move through space. Lyricism in movement can be traced back to the early dance pioneers of both modern (Alvin Ailey, José Limón, Martha Graham) and jazz (Matt Mattox, Luigi, and Gus Giordano), but it has become popularized and commercialized through competitive dance events since the mid-1970s. It helps to connect and ground us to our humanity by witnessing body sensations and feelings. —Tom Ralabate, associate professor of dance, University at Buffalo, Buffalo, NY

Lyrical dance is a mix of jazz, ballet, and modern. It’s usually a slower form, but always done to songs with lyrics. It incorporates the technical movements of jazz with ballet’s classical lines and modern’s freedom of movement. It’s popular in competition environments, but I think whether it can be taken seriously depends on the choreographer. It incorporates so much from other dances. Hopefully it will develop more, moving from amateur performances to the professional world. Lyrical dance is usually based on emotion, which is why it is one of my favorite forms. —Caitlin Donovan, student and dancer, San Francisco State University, San Francisco, CA

Lyrical is a combination of ballet, jazz, and contemporary, allowing total freedom to express the words or feelings of a song. It tells a story to your audience, and your movements and emotion should bring the song and story to life. —Jennifer Rienert, owner/director, New Hampshire School of Ballet, Hooksett, NH

Lyrical is my favorite style of dance because of the emotional expression, the complete “letting go” quality to it, and the beauty in the music it’s danced to. It’s a fusion of ballet, jazz, and often modern that usually has much more emotional expression than other styles. One reason it appeals to students is the music. I use a lot of “lyrical” music even in my jazz warm-ups, and the kids always say how much they like the music. —Heidi Hilton, director, Bates Dance Studios, Manhattan, Great Bend, and Junction City, KS

I consider lyrical dance a fusion of ballet, modern, and jazz technique. It is typically softer and more fluid than jazz, and it allows more freedom and release than ballet. It is appealing to dancers because lyrical choreography uses popular, commercial music, yet it still incorporates many foundational modern principles that help dancers find release and real weight in their bodies. —Jessica York, Shenandoah Conservatory, Winchester, VA; Lines Ballet Training Program, San Francisco, CA

Lyrical dance is a combination of ballet, modern, and performance dance. It uses balletic lines and style with modern steps and transitions. It allows the positions and movements to move outside of the strict, technical lines of classical ballet. The dancer’s emotional performance is the driving force for the movement and can be seen through each step. —Lauren Rosenstein, graduate student in dance education, New York University, New York, NY

Lyrical is a fusion of modern, jazz, and ballet technique that focuses on emotional expression. It’s attractive to kids because it’s typically used with popular music and it’s something kids can relate to. It allows them to use their innermost emotions through movement. —Brynn Sylvester, teacher, Chehalem Valley Dance Academy, Newberg, OR

It’s the new contemporary
Lyrical dance used to be the new modern and is now contemporary. I remember when a lyrical dance was done to an ethereal piece of music and the dancers wafted around the stage in chiffon. This type of dance should show the honest progression from ballet to the art form that the likes of Isadora Duncan showcased, without being stagnant and stuck in the past. With the advent of shows like So You Think You Can Dance, the line between contemporary dance and lyrical dance has been irreparably blurred. Lyrical should have a strong vein of ballet running through it, with clear technique and execution. Modern elements should be used, but with discretion and an understanding of why [they’re there]. I have a notion that we are witnessing the sacrifice of true lyrical to the more popular modern dance gods. I hope that, before it’s too late, we decide to resuscitate this lovely dance style. —Justine Mann, Velocity Dance Studio, Fresno, CA

Song lyrics are the key
Lyrical dance is movement that is inspired directly from the lyrics of a song. —Lauren Green, Undertoe Dance Project, New York, NY

Lyrical dance is movement-flow in time and space with the specific intent of expressing the emotional content of a song and its verse. Without lyrics, dance expressing the music can be considered music visualization. It’s a popular form because verse and melody can evoke strong emotions that stimulate a desire to move rhythmically in some way. Dance is and has always been considered poetry in motion. —Marlene Skog, associate faculty associate, Dance Program, University of Wisconsin, Madison, WI

Lyrical is an emotion-based movement that depicts the lyrics of the music. Kids love it because it combines technical skill and emotional performance better than any other genre. —Kristen Coats, artistic director, Chehalem Valley Dance Academy, Newberg, OR

It’s a vehicle for emotional truth
“Lyrical jazz” is a fairly new term. When I first started dancing, we used to call it “slow jazz.” It’s a slower, fluid, more emotional, dynamic style of movement, very technically oriented. It brings out and focuses on emotion more than any other style. It seems to me that people go to a deeper emotional level with lyrical combinations. —Byron Seddens, faculty, San Ramon Valley Dance Academy, San Ramon, CA

Lyrical is a beautiful and passionate dance form that is attractive to many teens, who have deep feelings that they may find difficult to verbalize. Lyrical provides a release of the strong emotions that go along with growing up. —Holly Derville-Teer, teacher, Chehalem Valley Dance Academy, Newberg, OR

The rich and diverse culture and history of China aren’t known for encouraging young people to express their emotions. My students [in China’s Sichuan province] have come to trust themselves and each other, and they are using the jazz and contemporary movement vocabulary we have developed in class to create movement stories of their own, many of which are deeply personal. The students have come to love what we in America would call lyrical dance, and understand that dance is an intimate method of human communication. When their developing English fails them, their movement never lies.

[By contrast,] young dancers in the U.S. are eager to let their voices be heard. For them, lyrical dance is often a first chance at expressing emotion, and doing so in a familiar manner. Dance students are attracted by the opportunity to become individuals, especially as they enter their teen years, when lyrical dance becomes popular. In creating lyrical dance with our students, we are encouraging open, honest communication and speaking truths that are accessible to anyone. —Andrew Delo, professor of dance,

Guangya International Baccalaureate School, Dujiangyan, Sichuan, China

The last word: There’s no such thing
When I started out, my body leaned toward the slow music, but there’s no such thing as lyrical dance. You dance lyrical to a jazz sound. Is there lyrical technique? Is there theater dance technique? No, there isn’t. —Luigi, Luigi’s Jazz Centre, New York, NY

Tap dance keeps the Huntley Hoofers and Hunks young

By Maureen Janson

“Dancing Queen” blares from the stereo as teacher Sandy Oldham demonstrates a move, calling out, “I want you to be here on the one! Lift the elbows, ladies!” About 30 pairs of elbows go a little higher and the clicking of tap shoes begins to drown out the music. Faces display a cross between smiles and deep internal focus. Some dancers count to themselves, some mouth the steps, and some sing along with the lyrics: “You are the dancing queen, young and sweet . . . you can dance . . . having the time of your life!”

Having the time of their lives is what this group, the Huntley Hoofers, was doing on a Monday night last summer. They tap dance and rehearse in the Meadow View Fitness Center studio of Sun City Huntley, a retirement community in the prairies of Illinois, about 50 miles northwest of Chicago. They also laugh—a lot.

The week of my visit, Oldham asked the dancers to dress in black. Both excited and nervous, the class is rehearsing a dance to The Beatles’ “Drive My Car,” shuffling away with plastic steering wheels in their hands. “Arms have to be big!” Oldham shouts. “If you hit somebody, I don’t care!” The group bursts into laughter, relieving the tension created by having an observer in their midst.

Oldham motions for one dancer to move into the front line. Reluctantly the dancer steps forward, saying, “It’s OK, she’s going to say, ‘Change lines,’ ” which Oldham promptly does.

Another dancer calls out for my benefit, “I still have two left feet and Sandy doesn’t care!”

Laughter fills the room once again to which Oldham replies, “Well, I sort of care.”

The practice resumes, and Carol Kaiser, the youngest in the group at 55, looks my way. “Sometimes she treats us like her freshman gym class!”

The Huntley Hoofers and Hunks of Sun City Huntley, Illinois (led by Sandy Oldham, center), are having the time of their retirement lives with tap dancing.

Oldham jokes when asked her age: “I only admit to being 59.” Now retired, but with seemingly endless energy, she volunteers about 12 hours each week with the Hoofer and Hunks program. “And a lot more when we have our major show in October. It is my passion!” she says.

Oldham majored in modern dance and physical education at the University of Wisconsin, and taught high school physical education and coached gymnastics for more than 30 years. One day, a group of her faculty colleagues at Palatine High School in suburban Chicago approached her, expressing interest in learning tap dance. She hadn’t tapped since age 13, but she began leading an early morning class for teachers once a week and has been tapping ever since.

The tap program at Sun City Huntley started in 2003 when an ad in the retirement home’s monthly activities magazine attracted more than 80 women residents, including Oldham, to a meeting for interested tappers. The proposed two classes could not accommodate such an overwhelming response. With her previous teaching experience and comfort in working with large groups (“I taught PE classes for 47 freshmen; 30 adults wouldn’t be a problem!”), Oldham volunteered to teach some additional classes. “Just about anything you want to do is here,” she says. “You can take yoga, ballet, jazz, line dancing, ballroom dance, or tap.”

She has since taken over all of the evening tap classes and divided the women’s groups into an elementary level called Step It Up (not really beginners, she says) and two more advanced levels. A men’s group, the Huntley Hoofer Hunks, was added about two years ago. More women than men live in the community—“It’s the nature of the beast,” says Oldham—and tap has appeal because they don’t need a partner.

Oldham reminds the dancers often that not only are they getting great exercise dancing about 1,500 steps in a 45-minute class, but that tap also stimulates the brain. “I start many routines at once,” she says. “We use a lot of props to keep things interesting.” (Some dancers arrive with suitcases to hold all of their props.) “At the end of the two-hour advanced class, everyone is sweating. “Today I go from 3:45 to 7:45 p.m.—a long day for an old lady!” Oldham says, smiling. But she has recruited three other volunteer teachers to assist her in demonstrating and reviewing material.

Dana Rich gives about eight hours a week as one of the assistants. To her, being in the Hoofers means more than just dancing; it means being a part of a tight-knit group. “If there’s a need, we come together in support like a family,” she explains. When one of the dancers received a cancer diagnosis, for months the group sent cards, brought food, and called on the phone. And when she returned to class, the others ceremoniously presented her with roses.

“My husband passed away last year,” says dancer Janet Becker, “and the ladies in my tap group helped me get through many hard times. It is more than a group of ladies dancing together; it is a group of friends you can count on.”

Adds Oldham, “We have lost one Hoofer, and that was difficult, but a reality in a senior community. We focus on life going on. These are brave women to try something new at this age!”

Time spent together outside of class is a draw for the Hoofers. Each year there is a Hoofer/Hunks picnic, and costume-making parties have become a highlight for the women Hoofers. Meeting at someone’s home, the ladies cut, paste, and sew costumes. “We always have snacks and wine,” Oldham explains. “We do have a tendency to go through a lot of wine!” Rich enjoys the group so much that she cuts short her visits to her winter home in Florida to minimize being away from classes and get-togethers.

Not all Hoofers are starting tap from scratch. Mame Christoff, affectionately called “Mom” by the group, is the oldest Hoofer at age 81. She reminisces about starting tap in 1933 for 25 cents per lesson, and of inspiration coming from Shirley Temple. “I enjoy my lessons,” she says. “It’s good for my memory, good exercise, and keeps my osteoporosis in line.”

As a child, Marylin Bobowski, now 71, wore tap shoes several sizes too small from a lost and found. “I still love the sounds taps make when I dance,” she says, “but now I have my own shoes and they fit me just fine!”

“I enjoy my lessons. It’s good for my memory, good exercise, and keeps my osteoporosis in line.” —Mame Christoff

Some Hoofers feel that dancing has contributed to their speedy recovery after surgery. Sandra Tomiano, 72, wanted to do something to stimulate both her brain and body. “When I told my friends of my plan to tap, they told me to forget it. I have had my right hip replaced three times. Well, I proved to them all that I could do it. I’ve been with the program for six years.”

And six weeks after a complete knee replacement, 80-year-old Marie Marino, who has danced since childhood, returned to class. “I don’t feel like I’m dancing the way I was years and years ago, but I’m dancing and that’s what’s important,” she says.

“As you get older, you have to make choices,” says 64-year old Mary Ann Catuara. “This is my choice. I stopped playing tennis and bowling. Tap is where it’s at.”

Nearly 70 women dance with the Hoofers, and at first there were no men. But Steve Sawatski had added tap dance to his list of things he always wanted to do. Shy about being in a class of all women, he approached Oldham, who told him if he could get six guys together, she would start a men’s tap class.

“Taking that as a challenge,” says Sawatski, “I started talking up the idea with friends and some of my teammates in the Sun City softball league.” To his surprise, 6 men attended class the first night, and within a month or so, the group grew to 10, then to 14. Oldham dubbed the class “Huntley Hoofer Hunks,” and for his part in starting the class, Sawatski has become affectionately known as “Father Hunk.”

“As typical males, we certainly goof off a lot,” he says. “But every one of the Hunks would tell you how much we look forward to Thursday nights. And we do take tap dancing seriously.” The Hunks have perfect attendance, get good exercise, and there are always plenty of laughs. “There’s one guy who’s 60 and doing something new for the very first time,” says Sawatski.

Oldham designs choreography specifically for the men, choosing songs such as “Big Man in Town,” “Bad to the Bone,” and “Standing on the Corner.” Rich and Kaiser help with the Hunks. “They let us come to class,” they laugh, rolling their eyes. “We teach them the routines, and then they go home and change the steps!”

The Hunks like to improvise or add silly gestures or hip wiggles to the choreography. But Sawatski brags, “At last year’s recital we got a standing ovation! My three daughters, my three granddaughters, and my sister came. They even brought me flowers.”

The Hoofers’ annual performance, held in the Drendel Ballroom of the community’s main recreation center, is open to residents, family, and friends. Oldham choreographs with that in mind. “Last year we did “Happy Feet” with 60 women dressed as penguins, and the grandchildren enjoyed that one,” she says.

Their repertoire also includes dancing with walkers to the song “Only an Older Woman” by Peter Allen and with brooms to “It’s the Hard-Knock Life” from Annie. “My folks are busy, so we limit our performances” says Oldham. “And we are just old people dancing, so I try not to take it too seriously.”

In 2004, Oldham took a group to Chicago to study with Lane Alexander of Chicago Human Rhythm Project, which led Alexander to invite the Hoofers to perform as part of National Tap Dance Day. And he plans to have them appear again. “They were wonderful and brought the house down,” he says.

Recalling their performance, Oldham says, “I admire these men and women who take up tap and are crazy enough to let me put them onstage for the first time in their life in downtown Chicago. They absolutely amaze me.”

A feeling of freedom resonates among this generation of dancers—through their joyful dancing, their laughter, and the stories they tell. Kathy Render’s tale encapsulates it. As a child, her father forbade her to dance, claiming that only “wild women” took dance lessons. She’s been with the Hoofers since the first day and says, “Father is gone now, so I can be as wild as I want to be.”

As Kaiser puts it, “We have nothing to lose. We’re grown up now. It takes more guts than playing cards, but it could be your last-chance dance.”

By the end of my visit, Oldham’s smile has not faded. “I don’t want the pressure of a paid job,” she says. “I’m retired and I volunteer because I love my Hoofers and Hunks.” I follow Oldham’s car as we pull out of the parking lot. Her license plate reads, “I love dancing.”

Let song and dance bring students to your door

By Heather Wisner

Triple threats—performers who can dance, sing, and act—may have a better shot at show-biz success than their specialist counterparts. So do dance studios offering the musical-theater classes to build those skills also have a competitive advantage? Some studio owners think so.

“Our program is very, very popular—it’s one of those things that sets our studio apart in our market and our demographic. It brings new students to us,” says Jaune Buisson, owner of Metropolitan Dance Theatre in New Orleans.

Emma England, director of Studio 3 Performing Arts Academy in Gilbert, Arizona, says musical theater has attracted boys who weren’t necessarily interested in dance to her studio, swayed in part by the popularity of films like High School Musical.

“Since its inception, it’s been one of our most popular classes,” says Kristin Foltz Petrou of the musical-theater instruction at her studio, Tap ’n Arts, in Harrisburg, Pennsylvania.

And Megan Baade, the owner/director of Garri Dance Studio in Burbank, California, says, “Our students love the classes; [the program] helps boost self-esteem in our dancers, and I always have an abundance of teachers who would be glad to teach. It is a win–win for everyone!”

Getting started
So how does one create a musical-theater program? Sometimes, it begins with one class that generates enough enthusiasm to justify adding more.

About five years ago, Baade created a musical-theater class for students ages 3 to 5. The teacher chose an age-appropriate story or musical, then taught lyrics and dance routines, incorporating various dance styles. “The children would also work to learn short lines and scenes—very simple ones for this age,” she says. “Once we put it all together, the kids themselves were telling a story. We called this class ‘Storybook Theatre.’ ”

The initial class, which involved theater games and an emphasis on conveying emotion through facial expressions and movement, was such a hit that Baade added a class called “Triple Threat” for students ages 6 and older. The staff works with students on vocals, choreography, and scenes. There are theater games and activities, and students get scripts to work on in class and memorize at home.

“Quickly, we went from having one Triple Threat class to three or four of them to accommodate the growing interest,” Baade says. Now there are three levels of Triple Threat; students are evaluated and placed into appropriate levels based on age and ability. Over the summer, the studio added Broadway Kids Camps, and this fall it began offering new acting and voice classes to supplement the Triple Threat classes. Baade hopes to gradually build students’ knowledge of theater while they continue training in ballet, tap, or jazz.

At Tap ’n Arts, the musical-theater program developed almost in reverse, beginning with the studio’s annual dance show, Steppin’ Out. “In preparation for the show, we would gather a group of students representing some of the various classes we offer to perform a musical theater production routine,” says Petrou. “With my background in both dance and theater, over the years we performed routines from such Broadway hits as Annie, Crazy for You, Mary Poppins, and Phantom of the Opera, just to name a few. They would feature students not only dancing but also singing and acting as well. They always seemed to be audience favorites and would receive rave reviews.”  While the studio was wrapping up rehearsals for its 2007 show, there was talk of offering musical-theater instruction that summer, directly after the show. “We were able to use the routine as the advertisement for the class we were about to begin offering,” Petrou says. “Immediately after the show, we began receiving inquiries on how to enroll in the musical-theater class.” The class has become so popular that the studio now plans to offer a junior musical-theater class this fall.

Camp to class and back again
To attract students to musical theater, Metropolitan has taken a kind of cross-referencing approach, referring studio kids to its summer camps and summer campers back to its studio. There was just one musical-theater class when Buisson arrived. “Now we have three levels, we have camps, we have intensives, we have private lessons,” she says.

Metropolitan actually grew its curriculum after Hurricane Katrina flooded the building in which it had been housed for nearly 30 years. “I live in a very saturated market,” Buisson says. “In the old building, there were three dancing schools on my block.” After offering temporary classes in local beauty parlors and a hurricane-gutted former nail salon, Buisson and her staff found a new, more central location where the school could expand its musical-theater instruction.

Metropolitan now offers musical-theater programs for ages 7 to 10, 11 to 13, and 13 and up. Students take acting classes and voice lessons and learn choreography for musicals, supplemented by the school’s regular ballet, tap, and conditioning classes. Preteen classes work with scripts, while older students do audition preparation and monologue work.

Buisson has found that offering a varied curriculum, in varied formats, has helped build the program. “Summer camp is a great way to introduce kids to our program—it attracts performers,” she says. “We start each day with a dance warm-up, followed by a vocal warm-up. We have acting classes in the afternoon.” Each camp has room for 36 kids and runs for a week, culminating in a show that combines the skills students have worked on.

Summer intensives, in turn, evolved from camp—this year, 50 teenagers took class three hours a day for two weeks. “We explain to bunheads that to get a job, you have to be able to sing,” Buisson says.

“We’re going out in the community to find students,” she says. “We offer free classes but we never pressure people to sign up. People see us performing and say, ‘That was great—I want my daughter to do this.’ ” —Emma England, Studio 3 Performing Arts Academy

Camp and summer intensives also give students (and their parents) a better feel for the year-round program, which is important if they’re considering more intensive training or transitioning from another studio. “They can talk, they play, they feel out the school and the program, and when they come to school, they’ve already made a few friends,” Buisson says. Typically, 60 to 70 percent of campers are already enrolled at the studio, while others may be involved in sports or live in other neighborhoods; Buisson hopes that these students will commit more fully to her studio later.

Studio 3, which specializes in musical theater, also offers a mix of classes and camps. Director Emma England says the mix gives her students a strong performance foundation. “Some will dance, but not professionally; those who do will have a better chance to succeed in the arts if they have a well-rounded background,” she says. “If you want to go on Broadway or a cruise ship, it will help you to have that training.”

Studio 3 has two musical-theater levels: the introductory Applause program, for ages 3 through teen, and the Showstoppers audition-only program for ages 5 through teen. In the Applause program, 20 to 30 kids (some of whom have no experience) come once a week to learn basic music, dance, and acting skills, which are then parlayed into shows. If they’re interested, they can later pursue the more rigorous Showstoppers program, which includes ballet and jazz technique, voice, and production classes. Younger kids attend this program 3 hours per week; older kids average 6 to 9 hours, with some logging as many as 11 hours per week. Showstopper kids (their number averages around 50) do themed musical revue performances throughout the year, for community and holiday events, retirement homes, and theme parks outside the area.

“You may have brought someone into the studio who was interested in drama who discovers they love dance,” says England of her cross-referencing tactic. “It’s also a great way to get boys into the program. We have boys whose sisters come to dance—they try musical theater and say, ‘Hey, this is cool.’ ”

Along with these semester-based programs, the studio produces a traditional musical-theater camp and the two-week Pop Academy summer camp, in which kids ages 6 and up learn pop songs and some dance technique.

Pop Academy capitalizes on the popularity of teen hits like High School Musical and Hannah Montana. “A lot of kids don’t know what musical theater is, but if you present it in their language, they say, ‘Oh yeah, I want to do that,’ ” England says. “You have to have a good explanation of your program. In summer camp, we do a more contemporary pop style; then, when you throw an older musical like Annie and Oliver! at them, they’re more familiar with the idea.”

A Making Music Videos summer camp lets kids sing, dance, and act in their own music videos. England videotapes the kids doing scenes, then edits the footage into music videos. The camp ends in a video showcase for the parents.

If all that weren’t enough, England staged Grease last fall, opening participation to community members as well as students in an attempt to build studio enrollment.

Who will teach?
The people who help generate new musical-theater programs often teach them as well. Buisson, who holds drama and communications degrees from the University of New Orleans, teaches classes herself, aided by two longtime friends with whom she used to perform. She also hires former students, including one who just finished a tour of Cats and another who’s been working at Tokyo Disney. Their success in the industry seems to further motivate her current students, she says. Petrou has also hired former students over the years, as well as advertising for instructors on websites, including craigslist.com.

England, who grew up in community theater productions and studied music and dance in college, teaches many of the classes herself, aided by drama and vocal coaches and assistants from the community. Before she hires teachers, she starts by contacting colleagues she knows in the dance world, watching them teach class to see how they work with students and whether they click with the studio philosophy.

“I think my fellow studio owners would be surprised at how many of their dance instructors on staff have had theater experience and will be able to teach classes,” Baade says. “If not, you will have an inpouring of applicants if you put the word out on dance.net and craigslist.com. I brought in teachers who had musical-theater experience and a true passion for stage performance.”

If you build it, will they come?
No matter how great the musical-theater classes or programs may be, they need a steady stream of students to survive. As Baade indicated, one way to advertise new offerings is through existing offerings, like a studio’s annual show. Traditional print and broadcast advertising are another option, along with electronic mailers and word of mouth.

“Every year we place an advertisement in our local newspaper for the studio and all of the classes we offer,” Petrou says. “These ads would direct potential customers to visit our website or call the studio office for more information. We also obtain a lot of students through referrals and word of mouth.”

Buisson, too, enjoys word-of-mouth business. “A full-page ad will do nothing if you don’t have parents who are happy, and apparently I’m the talk of the ballpark,” she says. “We have our website updated regularly, and we send electronic newsletters to parents that they can then send to family.”

Like her colleagues, England has advertised through email and craigslist postings, as well as postcard mailings and appearances at community events, where she shows video clips of programs. “We’re going out in the community to find students,” she says. “We offer free classes but we never pressure people to sign up. People see us performing and say, ‘That was great—I want my daughter to do this.’ ” She has also attracted attention through news coverage of the studio’s auditions and camps. “It’s about getting your name out there as many places as possible,” she says.

Programs don’t develop overnight: “You have to be flexible and you have to be willing to compete,” says Buisson. But for studio owners who love musical theater and don’t mind multitasking, the rewards can be significant for participants and viewers alike.

“I like having the challenge of putting three parts together,” says England. “That’s why musical theater is so great—you’re putting everything together in a package that the audience can enjoy and take a message from.”

Sheet Music Sources

If you’re venturing into the world of musical theater, you’ve got to have scores to work from. Browse these sources for sheet music to get your kids singing.

Great Scores greatscores.com/p/sheet/style/Musicals
Theatre Bookstore theatrehistory.com/bookstore/sheetmusic.html
Stage Plays stageplays.com
Broadway Sheet Music musicnotes.com/broadway
Sheet Music Plus sheetmusicplus.com
Musical Heaven musicalheaven.com
Music Forte musicforte.com
Broadway Sheet Music dot Net broadwaysheetmusic.net
FreeHand freehandmusic.com
Sheet Music Direct sheetmusicdirect.us

Enhance your dancers’ onstage charisma through acting exercises

By Karen White

It’s so common it’s almost cliché: A teacher spends hours drilling technique, perfecting turns, straightening lines, and cleaning up arm placements. Then, just as the class steps onstage, she yells, almost as an afterthought: “And smile!”

That’s easier said than done. While some dancers are inherently comfortable onstage, smiling easily, perhaps with a dynamic personality or natural charisma, others are not. Their eyes might stare out blankly or flit about from right to left; their smiles might be frozen, or they might bite a lip or otherwise show their discomfort.

But since, eventually, all dance routines are performed before an audience, dancers need to work as hard on their onstage personalities as they do on their choreography or technique. Acting exercises can help.

Dancers who hone their acting skills are also more versatile performers, able to “emote” effectively in a heartfelt lyrical solo or add a bit of comedy to a musical-theater routine. A contemporary piece might call for dancers who are angry, or passionate, or cool; perhaps the fun quotient of a hip-hop number could be pumped up if the dancers actually looked like they were having fun.

For students at Spotlight Dance Studio, acting exercises strengthen their ability to improvise and emote and make them more versatile as performers. (Photo courtesy Karen White)

Adding acting exercises to a jazz or musical-theater lesson is a fun and not-too-time-consuming way to encourage dancers to use their faces and body language to best advantage. Try a different acting exercise every other or every third lesson, for about 15 minutes. If done regularly, acting exercises help dancers become less self-conscious, more confident in their performance, and more able to understand the “feeling” or “focus” of a piece.

Then, if the choreography requires some acting—whether it’s crying melodramatically over broken hearts in “Forget About the Boy” from Thoroughly Modern Millie or portraying a living doll in Coppélia—the dancers will be “ready for Broadway.”

Acting exercises for dancers
Younger children (ages 11 and under) will usually jump right into these exercises, while teens will hold back. If trying this with a class of teens for the first time, find out which students have acted in school plays or are naturally “hams,” and use them as leaders. Don’t force anyone. Usually the class will start laughing and having such a good time that even the shyest dancer will join in.

Pass the Face: A great way to break the acting ice, so to speak. The class stands in a circle and chooses a leader. The teacher calls out a facial expression such as “happy” or “sad.” The leader makes that expression, then turns to the person on her left, making eye contact (very important). When they do, that person “catches” the “face.” Continue to pass the “face” from person to person, contagious-style, until it gets back to the leader. Then the teacher calls out another expression and the game continues.

Important notes: After passing the face, the dancers must keep that expression, not drop back into their regular relaxed face. After all, a competition or recital dance can be 3 minutes long—that’s a long time to concentrate on a facial expression. No laughing, please; actors must remain “in character.”

Younger children will usually jump right into these exercises, while teens will hold back. Find out which students have acted in school plays or are naturally “hams,” and use them as leaders.

Some easy facial expressions include: happy, sad, bored, jealous, hot, tired, angry, scared, hungry, shocked. More advanced faces include: frustrated, confused, anxious, ditsy, nervous, suspicious.

Play Ball: Everyone partner up. It’s time to play ball, but of course, there are no balls in the room. One person picks up a “ball” and throws it to her partner, who must “catch” it. At first, teams can get comfortable “throwing” and “catching” whatever. Then, specify what kind of ball—is it a basketball? Soccer ball? Ping-pong ball or tennis ball? Balloon?

Important notes: Teams must hold their hands in a realistic manner—a basketball and a ping-pong ball differ greatly in size. Both players must follow the ball with their eyes, and the throwing “time” must be realistic; for example, if bouncing a tennis ball, the catcher must wait for the bounce to happen. This helps the dancers to focus and work together as a team. If they get really good at this, create two “teams” of four, put up an imaginary net, and let them play volleyball.

On the Catwalk: Pretend there is a model runway or “catwalk” in the center of the studio. The teacher is the announcer, or MC, who introduces “designer clothing” for different personalities. For example, the MC says, “And here is Kayla modeling the latest look for ‘Frustrated Mother.’ ” Kayla, then, could walk in very quickly, perhaps running her hands through her hair, pursing her lips, or shaking a fist at an invisible child. At the end of the runway she might cross her arms, tap her foot, and look at her watch, then throw her hands in the air as if the school bus is late again. When she exits the catwalk, the MC introduces the next student in line. The idea is that the dancers are modeling not clothing, but the attitude, walking style, and expression of a person who might wear that clothing.

Important notes: If the class hasn’t done this exercise before, I suggest giving them all a go at “Frustrated Mother/Father” or whatever you choose, before you switch to a new personality. It takes time for new actors to understand what you are looking for, which is using body language to create a personality. At first, they might all mimic the same movements, but there is always the one “hamasaurus” (William Shatner’s description of himself) in the room who will throw in something new or unexpected. After they’ve tried this exercise a few times, you can encourage them to “think quick” by giving each dancer a new personality when it’s his or her turn on the catwalk.

Some personalities include: Queen of England, Head Cheerleader, Mad Scientist, Class Valedictorian, Supermodel, Super Jock, Slacker Dude, Hip-Hop Gangsta, President of the United States (believe it or not, that one’s tough!), New Kid in School, Miss America, Secret Agent Man, Disney Channel TV Star, and Teenager in a Horror Movie.

Hooray for Hollywood: Teach the class an easy few counts of eight—loose steps like runs, jazz squares, chassés, or three-step turns. Keep the arms simple or give no arms at all. Then you, the teacher, become Cecil B. DeMille. Explain that the dance is going to be featured in a new movie you are filming, called Jungle Beat. Have them do the steps again, but as if they are in a hot, steamy jungle. They are free to add movements, such as wiping sweat from their brows, crumpling from the oppressive heat, or perhaps flailing about with their arms as if brushing vines out of the way.

Then, Mr. DeMille changes his mind—the movie’s now called Arctic Ice. Now the movements might include wrapped arms and shivers, blowing on cold fingers, and chattering teeth. Then Mr. DeMille might want to film Fun at a Slumber Party. Dancers should do the steps as if they’re having fun with friends—happy and joyful, a little silly and giddy.

The possibilities for “movies” are endless: Among the Clouds, The Noodle and Spaghetti Ball, Underwater Ballet, When Robots Attack, Lovesick and Lonesome, Dancing on Hot Coals, Toddlers’ Revenge, Zombie High School Musical.

Important notes: For beginners, ask the dancers for ideas before they move: “Now, when you’re underwater, how would you move? Slowly, float a bit. Right. What’s in the water? Waves, bubbles—right.” Then keep a sharp eye out for students who are doing something creative; point it out and share it with the class. “Look, Katie just came up for a breath of air! That’s really good!”

Happy Birthday: Stand in a circle. The leader picks up an imaginary box and hands it to the next dancer. It’s that dancer’s birthday, and he must open the box and show the rest of the class what’s inside. Of course, since there’s no box and no gift, the student must “show” the invisible gift through mime. This doesn’t have to be complex; if the gift is a watch, he “puts on” the watch, checks the time, and maybe runs out the door as if late. If it’s a basketball, he dribbles a bit, then shoots. How about squeezing into a sweater and then looking at yourself in the mirror? Putting an iPod in your pocket, placing the ear buds in your ears, then dancing to the music? Have the rest of the class guess what the gift is. Once someone has guessed successfully, that person hands a birthday gift to someone else.

Important notes: This is for a class with some acting experience or one that has advanced past the previous exercises. This exercise calls for improvisation—the teacher is not telling the dancers what to do; they have to use their own imaginations to decide what the gift is and how to “use” it in a realistic way.

Night at the Museum: Choose one person to be the museum curator and another to be a visitor. Everyone else stands in the center of the room. The teacher puts on some music and the center dancers jump and move about. When the music stops, they freeze in an interesting position. The curator then leads the visitor through the “museum” and points out the statues, giving them names that somehow fit their poses. For example, “Here is our Olympic athlete statue” for someone who looks like she’s running; or “Here is our supermodel statue” for someone posed like a model. The “statue” then comes to life and moves about before re-freezing. Curator and visitor move on to the next statue. When finished, choose a new curator and visitor.

Important notes: This is everyone’s favorite (perhaps because of fond memories of “Freeze Dance” from preschool days). Encourage the curator to be wildly creative in her naming—everyone can’t be “ballerina statue.” Encourage the dancers to use appropriate facial expressions.

Most important note

Have fun! Acting is freedom; it’s individuality; it’s letting loose and being wild and crazy and creative. If that doesn’t sound like your dancers, don’t panic. Everyone has this ability somewhere inside—remember how much these same students loved to be butterflies when they were toddlers. Be patient, and in time their stage personalities will shine.

Things to Keep in Mind

• You (as the teacher) will have to set the example. Don’t expect the students to jump around the room like monkeys while you stand in the corner with your arms folded. If you ask them to try something, be ready to do it first.
• There is no right or wrong. Look for good examples and point them out: “Wow, Mary, you look so cold you are making me feel cold!” Encourage creative ideas and discussion. (“Now, if we want to act cold, how would we show that?”)
• Some dancers, struggling for years to exactly reproduce a teacher’s movements, have never had an opportunity to be creative on their own. Be patient and positive.

Resources

There are oodles of books on acting games for children, which, of course, are heavily weighted toward exercises that involve talking. Still, many of them include plenty of good physical exercises that work for dancers. Here are a few to try:

• On Stage: Theater Games and Activities for Kids by Lisa Bany-Winters
• 101 More Drama Games for Children by Paul Rooyackers and Margreet Hofland
• Acting Games: Improvisations and Exercises by Marsh Gary Cassady

Where to go if hip-hop is your dream

By Gina McGalliard

Studio owners may be at a loss as to how to guide their professionally minded students into a dance career—especially one in hip-hop. The answer may well lie in Monsters of Hip-Hop, the first all-hip-hop touring convention. It not only features some of the biggest names in the dance industry but also provides key information and opportunities for aspiring dancers to break into show business.

Monsters of Hip-Hop tours to the continental United States, Mexico, New Zealand, and England, and the convention has developed such a following that it attracts participants from Asia, Europe, North America, and Australia. At the tour’s end, dancers selected by the convention’s faculty from thousands of Monsters participants perform in an annual show in Los Angeles.

How it began

Ten years ago, Monsters co-founders Andy Funk, his wife, Becky, and Becky’s sister, Angie Worley, started a dance studio in their hometown of Baltimore. When Funk quit his day job to manage the studio full-time, they began brainstorming how Andy could put his event-planning background to use to make up for his lost income. Becky and Angie had both grown up on the convention and competition circuit and loved hip-hop; they thought a dance convention that featured more than only a few hip-hop classes was needed.

Funk quickly discovered that top-name choreographers (many of whom don’t usually teach) were enthusiastic about the prospect of an exclusively hip-hop convention. “Once we presented our mission and what we were trying to do, [which] was so unique, they gravitated toward it,” says Funk. “They were intrigued and wanted to try it out.”

Today, Monsters is flooded with submissions from choreographers seeking to be on the convention’s faculty. And recently, the company expanded to include an all-contemporary dance tour, Monsters of Contemporary.

Best in the business

Monsters’ faculty list reads like a who’s who of the hip-hop world: Tabitha and Napoleon D’Umo from So You Think You Can Dance; Jamal Sims, choreographer of Hairspray, Step Up, and Step Up 2: The Streets; Justin Timberlake’s choreographer, Marty Kudelka; Rhapsody James; Kevin Maher; Dave Scott; Poppin Pete; Mr. Wiggles; Flomaster; the Jabbawockeez; and Teresa Espinosa.

“They’re so passionate about sharing their knowledge with the kids,” says Funk. “Some of them are well-known celebrities because you see them on TV, and others are not on TV but they’re some of the most popular choreographers we have. Once the kids get to see them and experience their style and their teaching ability, they’re hooked.”

Sometimes former Monsters show cast members come back to teach, such as JaQuel Knight, who co-choreographed Beyoncé’s famous “Single Ladies (Put a Ring on It)” video. Tony Testa, who as a teenager was cast in the first Monsters show, is now not only on the faculty but he co-directed and wrote this year’s show with Rhapsody James. He counts the experience of directing as invaluable in his career and considers the Monsters staff to be family.

“Andy’s a family man, so whenever we’re [at Monsters] it doesn’t feel like this corporate job,” says Testa. “It’s really nice to be with somebody who’s on a level playing field in terms of fairness and equality for everybody and just about people having a great experience.”

A different kind of convention

The convention includes junior, intermediate, advanced, and teacher levels. In order to create an optimal learning environment, Funk limits the number of participants to 600. “We don’t have a thousand or 1,200 people at the event, so people can move and not get bloody noses or crazy things that you hear from some of the huge, huge conventions,” he says.

Although the convention draws hard-core hip-hop devotees, the popularity of the style sometimes attracts those who may not feel so comfortable doing it. Tabitha D’Umo, who has been teaching at Monsters from the start, calls the convention a place to go for kids who think they’re not funky. “What I love to see now, with the success of So You Think You Can Dance and America’s Best Dance Crew, is that a lot of studio kids who typically get embarrassed or shy about doing hip-hop now have somewhere to go,” she says. “[They can] do a strong intensive and inundate themselves with that style so they can start feeling more comfortable.”

Also setting Monsters apart are its seminars about the business of being a professional dancer. The sessions cover everything aspiring dancers need to entice choreographers to hire them: professional etiquette, auditions, headshots and resumes, financial planning, and fashion.

Tabitha D’Umo calls the convention a place to go for kids who think they’re not funky. “. . . A lot of studio kids who typically get embarrassed or shy about doing hip-hop now have somewhere to go,” she says.

“There are so many pitfalls they can run into when they pick up and move to L.A., if they don’t know how to handle their business,” says Funk. “They’re going to end up back at home and not dancing or drop their dream and not go for it.”

Showtime

In each city on the tour, the convention’s faculty chooses four finalists, contenders for a chance to perform in the annual show that follows a weeklong intensive in L.A. The finalists receive VIP tour passes that allow them to attend unlimited Monsters workshops free of charge for one year. This year the chosen dancers came to L.A. to rehearse for the show in North Hollywood’s El Portal Theatre, which Funk describes as “the most intense training they’ll ever have.” It’s not unusual for rehearsals to run from 9:00 in the morning until past midnight.

The experience is a training ground for dancing professionally, because dancers must learn to conform to each choreographer’s demands. “Each choreographer works differently, so you have to adapt at the drop of a hat,” says Chicagoan Katie Leone, a cast member. “So that’s what I think was the biggest learning experience for me—learning how to change your mind-set as each choreographer comes in.”

The show isn’t simply a bunch of strung-together numbers; it’s a full-on production with a concept and story, and it comes together in less than two weeks. This year’s show, conceived and produced by Tabitha and Napoleon D’Umo, had a futuristic theme involving concepts such as teleportation, telekinesis, and time manipulation.

“This show is almost like boot camp for dancers who want to become professional dancers,” says Tabitha D’Umo, who, along with her husband, has hired numerous Monsters participants for gigs. “They see what it’s like to put a show together in a week and a half, under pressure, working with a handful of different choreographers who all have different personalities, different work ethics, different intensities. And they have to adjust to all those circumstances and be able to deliver an amazing show.”

Opportunities abound

The instructors themselves often offer career opportunities to Monsters participants; many choreographers have booked dancers they found on the tour. Three Monsters alumni toured with Britney Spears; Jamal Sims booked several dancers for Hannah Montana: The Movie; and Chuck Maldonado booked others for the new Nickelodeon show The JumpArounds.

Monsters can also be a prime spot for dancers to find agents, since representatives from MSA, Clear Talent Group, DDO, and BLOC routinely scout for talent there. The convention also features auditions in which scholarships are given to top studios in L.A. and New York.

“The list of professional dancers coming through, being signed by agents, who are going on to work in the industry is really phenomenal,” says Funk. “And that’s not just coming from me—the agencies and choreographers all talk about Monsters kids.”

Brooklyn Lavin, the director of choreography and dance agent for Clear Talent Group, has signed 10 Monsters alumni to her agency. She enjoys working with Monsters dancers because of their dedication and professionalism. “I travel to a few [Monsters conventions] a year because the [dancers] have amazing talent,” says Lavin. Plus, she adds, they are “truly focused.”

First-time Monsters participant Sohey Sugihara, a native of Hokkaido, Japan, can attest to the opportunities found at Monsters. Last year, after hearing that many great dancers came out of the convention, he sat in the audience during the show and vowed he would be on that stage the following year. His wish came true: He attended the convention—his first ever—this year, in Santa Clara, California, and was cast. And his good fortune didn’t end there; he recently signed with MSA.

“It was a really great experience and I actually cried at the end of the show,” says Sugihara.

Giving back

Funk, who lost his brother to leukemia, feels it is important to give back to the community. So every tour stop includes Club Stylz, a freestyle dance contest that raises money for the American Cancer Society; during the 2008–09 convention season, it raised more than $12,000, according to Funk. After the classes on Saturday, 10 or 12 groups showcase their dance numbers in the competition and receive feedback. Also included are a free parents’ class, a battle, and an individual freestyle dance contest.

“It’s really an opportunity for [students] to get familiar with being onstage and performing individually and freestyling. It’s so important as a commercial dancer to be able to freestyle,” says Funk.

Funk hopes all who come to Monsters having grown from the experience and with cherished memories, whether or not they seek a professional career. “I would want the average kid to come and feel like a million bucks when they leave—that they had a blast, that [they] got a chance to see celebrity choreographers and realize that they’re down-to-earth and humble and that they appreciate where they’ve come from,” says Funk. “That’s one of the stipulations of being on the Monsters faculty. They can be the biggest celebrities, but they always take time with the kids and are approachable.

“We want [the kids] to have an experience where they made friends,” he continues, “and where they were challenged and had opportunities as well.”

Studying at home, dancing on tour: these troupers pull a show together in no time

By Joshua Bartlett

Lisa Hopkins, the co-founder and director of Tap Kids, never underestimates the precociousness and maturity level of adolescents and young adults. “My philosophy has always been that just because they’re kids doesn’t mean they shouldn’t be respected as artists,” says Hopkins. She has backed up that statement with the success of Tap Kids, a troupe of eight avid tappers ranging in age from 16 to 21.

What makes this touring company unique is that the cast members study at their hometown dance schools all over North America—in Texas, California, British Columbia, Illinois, Indiana—and assemble for performances at the blink of an eye. The current show, Tap Kids—Senior Year, is a sort of High School Musical told solely through tap and jazz choreography mixed with comic pantomime. A hit at Scotland’s Edinburgh Festival Fringe in August, Tap Kids performs at up to 35 venues per year. “The task for them is that they have to keep the show fresh because they can’t always rehearse the show together. They rehearse when they get here,” says Hopkins.

As a Tap Kid, Shane Rutkowski, 20, studies swing, funk, body percussion, African drumming, Irish step dance, and South African gumboot dancing. (Photo by Kent Miller)

How do they do it? The driving spirit of Tap Kids springs from the Tap Kids Intensive, an annual weeklong concentrated workshop/festival for hoofers ages 9 to 21. (Traditionally held in Tarrytown, New York, in July, next year the intensive is moving to Burlington, Vermont.) “The intensive is the training ground for the show,” says Hopkins, who studied tap in Canada with her mother, Marion Hopkins, and later obtained a BFA in dance from York University in Toronto. “Anyone who is cast in the show has to come to the intensive, because the training is so intense. It all amalgamates into one vision.”

In addition to classes offered in tap and modern technique, the young hoofers study swing, funk, body percussion, African drumming, Irish step dance, and South African gumboot dancing. All the kids get a chance to learn sections from the show, and there is a showcase for the dancers at the end of the week. The show’s cast members, newbies and veterans, also participate in rehearsals for the upcoming performances that provide them with a solid foundation for the year.

Hopkins, along with her husband, composer Philip Stern, began the tap intensive format when they realized there was a void in concentrated training for talented tap dancers. “There was no vehicle for them,” says Hopkins. “There would be festivals to keep the art form alive. But there was nothing like a Jacob’s Pillow or Tanglewood. We wanted something competitive to get into, but once you were in, you would be completely supported.”

Hopkins and Stern, who teach and act as producers for New York Stage Originals, a production company for musicals like Scrooge, began the Tap Kids Intensive in 2000. At the first one, they had only 40 dancers. “Now we don’t even advertise,” says Hopkins. “We won’t take more than 75 kids. Philip and I were so inspired by their passion that we decided to do a show.”

The original Tap Kids, subtitled School Days, began with 9 cast members (out of 100 auditioners) at its debut performance at the Tampa Bay Performing Arts Center in 2002. All of the dancers, ages 12 to 17, were still in school. By 2004, the show started extensive touring and gradually evolved as the kids grew older and more seasoned.

“Part of the uniqueness of the show is that [the kids] all are different shapes, sizes, and colors. It’s very multiracial,” says Hopkins. “Most have spent a long time with me. As they train with the show, they get a sense of working in diverse ways. Though they are rhythm tap dancers, they have to do some improvisation in the show—but they also have to hit lines.” Coming from different backgrounds, which usually involve tap, jazz, and hip-hop training, the dancers have worked with Hopkins to weed out bad habits and form an integrated team.

KiLeigh Williams, an 18-year-old from Marion, Indiana, has been involved with the show as an original cast member since her pre-teen years. Inspired by fellow students who had attended the Tap Kids Intensive, she signed up. “I loved the intensive so much that I really wanted to audition for the show. I thought there was no chance, but I got in, and still to this day I love it. Not only has it pushed me to be a better dancer, but my confidence was boosted. We are like a huge family with one heart.”

“As a Tap Kid I have learned that being the best and being competitive are not everything. Tap dancing is an art form as well as a team spirit.” —Byron Tittle

Byron Tittle from Hopewell Junction, New York, is the newest addition—an apprentice to the company. He became interested in tap dancing after watching Gregory Hines at an improvisation session and “decided then and there I would like to be like him.” The first time he saw Tap Kids, the dancers’ sheer love for tap dancing made him want to be a part of the show. “As a Tap Kid I have learned that being the best and being competitive are not everything,” says Tittle, age 16. “Tap dancing is an art form as well as a team spirit. Love of tap dancing and the drive to master the art are the most important qualities to have.”

The theme of the show, though quintessentially American, is universal. “It’s about a rite of passage,” says Hopkins. “It’s that incredible time between childhood and adulthood when you feel empowered by your youth, passion, and dreams. The energy and the message are positive and uplifting.”

Intended to reveal a slice of life of a group of high school kids, Tap Kids—Senior Year showcases a range of archetypal characters: the cheerleader and her boyfriend, the basketball player, the class clown, the non-athletic geeks, the gossiping girls. Running 90 minutes, the show’s scenes progress from homeroom to classes to lunch break to detention hall to practice for the halftime show at the varsity game. The show culminates in a big graduation number that brings down the house.

Stern composed an original score for the show that utilized six musicians—an electric keyboard player, electric guitarist, and percussionists. “The score incorporates styles ranging from big band swing to a younger pop feel,” says Stern. “For the detention hall scene, we wanted a Gene Kelly/Donald O’Connor–type number. One scene has an electric guitar number where anarchy takes over the kids. The trick was to create a clean-sounding track that tells the story and highlights the tap dancer without dominating the tap.”

The kids have a blast doing the show, but there is plenty of order in the chaos. Hopkins insists on strict discipline and a no-nonsense attitude. Cast members fly from their home cities and usually have a four-hour brush-up rehearsal the night before a show, so a lot of mental homework is involved. “A huge part of the training is learning how to be professional,” says Hopkins. “They really have to think on their toes.”

Once the high-speed show starts, there isn’t time to discuss a Plan B for unexpected glitches. During a performance, one of the girls was injured backstage. She was supposed to appear in a scene that features four girls dancing on trays in the lunchroom—an intricate counterpoint sequence. “[The other kids] knew she wasn’t there, but they completely covered it musically. You would never have known,” says Hopkins. “People say, ‘What is a Tap Kid?’ It’s being able to do that. If the music stops, they know what to do.”

Naturally, kids will be kids, and managing a group of them presents its own set of challenges. “I have a 12-year-old daughter. I’ve worked with kids and know what they need,” says Hopkins. “As far as schedules, teenagers don’t wake up in the morning. I can tell when they’re hungry even before they’re hungry. If you want happy performers, you need to treat them well. You can’t expect a lot and not give.”

Upcoming performances by Tap Kids in the winter and spring of 2010 will take them to Virginia, Idaho, Alaska, California, Kansas, Ontario, Illinois, Iowa, Indiana, Pennsylvania, and New York. (Go to nystage.com and click on Tap Kids for specific dates and cities.)

Where will Tap Kids go in the future? Hopkins and Sterns would like to give lots of dancers work through multiple touring casts. “Philip and I want to write a show for dancers who graduate. As some of the dancers get a little bit older, maybe some of them can take a year off before they go to college or to travel and work,” says Hopkins. The current Tap Kids dance captain, 20-year-old Brittany Parks, lives in Los Angeles and has been involved with Tap Kids intensives since age 9. Having performed in shows with Rihanna, Justin Timberlake, and Beyoncé Knowles, Parks has periodically returned to dance with Tap Kids.

She would especially like to go to Africa to work with kids there. “I would love to share the energy and go back to the roots of tap in Africa.”  There are also preliminary plans to start a junior version of Tap Kids, due to the amount of talent they’ve found among kids too young to be in the current show.

“We’re just excited to be spreading tap,” says Hopkins.

Lessons learned when trusted colleagues become rivals

By Eliza Randolph

What’s worse than losing a student to a rival studio? How about when a student or teacher from your studio not only leaves but starts a studio of her own? Already a challenging business, studio ownership can turn into an emotional rollercoaster when clashes arise between you and your employees, students, or students’ parents, and a split is the result. Three studio owners who survived such challenges talk about lessons learned and how they coped when trusted teachers or longtime students (sometimes both) suddenly transformed into rivals.

Lesson 1: Build trust through communication
“I didn’t see it coming,” Emily Thompson says of the decision by two teachers at her Ohio studio to leave and start their own school. “About three weeks after the recital I got a letter of resignation from them. And two weeks after that I found out they were opening their own dance studio.”

Thompson says she was friendly with both teachers, but the year before they left was a busy one and she hadn’t been able to chat with them much, except in passing at the studio. By recital time, she noticed that these two teachers were irritated by what seemed to Thompson to be minor problems, such as an incorrect costume order or the placement of a particular work in the recital program. Still, she says, she was stunned when they resigned and she learned of their plans to open another studio nearby: “I knew I didn’t feel as close with them at that time, but I wasn’t expecting that at all.”

The following year of dealing with her new competition was “a strain,” she says. “I haven’t spoken to them about it. But this summer the library program in our community set up a situation where all three of the dance studios in town were in the same place, performing for several libraries around the county. And it was awkward. I looked around the room and I saw that most of the girls there had taken dance at one time or another at my studio, and it was awkward.”

Thompson now sees measures that might ward off a repetition of her trauma. She has always had new teachers sign no-compete contracts, for example, but she hasn’t always renewed them each year.

That’s going to change, she says. “I would definitely keep up the no-compete contracts from year to year, and try to have more conversations with the faculty,” she says. “The year before everybody left, I didn’t have any faculty meetings. I did have them the year previous, and they always felt really negative, like [the teachers] were angry about things I was bringing up. Maybe they weren’t—maybe I was just too afraid of everything I was doing. I felt like they were annoyed or thought I was controlling them too much. And I didn’t like feeling that way, so I backed off.”

But Thompson acknowledges the importance of clear communication—regarding compensation, for example—and general expectations of employees and owner. “Stand up for yourself” as an owner, she says. “And at the same time I want the faculty members to feel like they can be creative and that they’re recognized as good teachers. It’s finding that balance between trust and not letting people walk all over you.”

The challenges of the last couple of years have shaken Thompson. “I’ve been considering doing something different, but I’m not ready to give up on dance,” she says. “With support from some friends and my husband, I just keep going on.”

Lesson Two: Separate business from personal
Chris Grau, who runs a studio in Pennsylvania, had her heart broken by two students she had taught for years, who left and opened their own studio within 10 minutes of hers. “I had had them since they were babies,” she says. “It was really devastating. It’s one thing to have a teacher who’s taught for you awhile take kids [away to a new studio]; I know that happens a lot. But I think it’s a different feeling to have kids [do it], whom you’ve put your entire life into during all these years.”

“The most difficult thing is [that] I’ve been in that business for over 28 years . . . but they didn’t want one bit of help from me. I would have helped them whole-heartedly. I love those kids and I wanted the best for them.” —Anonymous former school owner

Grau had been gradually teaching these two to teach. “As they got older, first they started helping me with classes, which happens in a lot of studios.” Then she began giving them classes to teach, and, as time went on, more responsibility. But, she says, “they did want me to give them more responsibility than I did.” She says she told them, “ ‘Not yet, because I have a lot of really good teachers here that I pay a lot of money to.’ So they were getting annoyed about that.”

Apparently that annoyance built up until the two novice teachers felt they had to go off on their own. Unfortunately, Grau says, they took many of her upper-level students with them. She was hit hard by this betrayal, in her business and in her heart. “I cannot let myself get attached to anybody like that again,” she says. “I have to be careful. I’ve got to separate the business from the kids. And it’s not that I don’t care about them—that’s hard for me. I don’t know if I can do it, but it’s something I have to work on.”

In the aftermath, Grau has regrouped and refocused her energy. She asked advice of friends and other studio owners. “And,” she says, “the gist of what everybody said was, ‘You need to build up your preschool program and little kids’ programs, your recreational programs, and not worry about your competition kids; they don’t really bring you that much money.’ ”

She’s on the road to recovery from the split, she says, but she’s not there yet. “I can’t say that I’m devastated, money-wise, but I’m not doing great,” says Grau. “I’m holding my own. I am working very hard to do a lot of things in the community—parades and county fairs. Wherever I can get my name out to anything in the community, that’s what I’m trying to do. And I’m trying really hard not to put my entire self into my competition team anymore. I need to put as much energy into the rest of my school.”

Lesson Three: Take the high road (or, give in gracefully)
A third studio owner, when confronted by a teacher and student who wanted to buy the studio from her or else start their own, gave in. “Because I had been in business for 28 years,” she says, “I was kind of ready to hand over the reins to somebody else.” She did feel, though, that the two had forced her hand. “A letter accompanied the meeting we had that said [owning the studio] had been my time for a long time, and now it was their time to strike out on their own and have their own studio,” says this former owner, who wishes to remain anonymous. “Or I could sell it to them. So they had definitely gone behind my back for at least a couple of months, planning what they were going to do.”

Nonetheless, she sold the business, and she even returned the next year to teach for the new owners. “My daughter still dances there,” she says. The decision to sell was made “probably more for [my daughter] than anybody else, because she was so close with her class that she’d danced with since she was tiny. And that was a huge deciding factor. And a huge deciding factor for the studio, because the whole studio is incredibly close, especially the competition group. And to think of them having to choose—I just couldn’t do that to them. They were too important to me. And the friendships that I’d forged. It would have torn that whole community apart.”

But it wasn’t easy to shift gears. “The most difficult thing is,” she says, “I’ve been in that business for over 28 years with an incredibly successful studio with over 400 students, but they didn’t want one bit of help from me. I would have helped them whole-heartedly. I love those kids and I wanted the best for them.” Instead, she has had to watch the new owners learn as they go, hoping that once they’ve established themselves they’ll feel free to draw on her experience.

The transition has been bittersweet, but she doesn’t regret her choice. “I’m loving retirement too. I can be with my kids and be able to do stuff.” But when running a studio is such a huge part of your life, making that transition can be tough. “It was a hard year,” she says. “Very hard. But I think knowing the circumstances and the outcome of what has happened, and how close the children in the studio are and how happy my daughter is, I wouldn’t have made another choice.”