EditorSpeak

November 2014 | Editor Speak

“It’s All a Blur”: Once upon a time, I enjoyed watching dance. From recital queens to big-name ballerinas, amateur troupes to Ailey masters, it didn’t matter—if someone was willing to move her body to music, I enjoyed it.

“Looking Out, Not Looking In”: The movie Boyhood is a fictional depiction of a boy, Mason, and his family as they traverse 12 years of his childhood. Remarkably, the film was shot over the course of 12 actual years, allowing us to observe time passing for the characters while the actors mature in real time.

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October 2014 | EditorSpeak

“Remembering Robin”: Robin Williams wasn’t a dancer. Not officially, anyway. During an interview on Inside the Actors Studio, he mentioned taking class with Anna Sokolow at Juilliard; perhaps he trained with others too. Regardless, this was a man who could move—who, as my colleague Lisa Okuhn put it, was a “wildly physical performer. His brilliance and energy took over his body, almost as if he was possessed.”

“Not Alone”: College—or launching a dance career—is tough. Kids can feel overwhelmed to the point of giving up—dropping out, succumbing to despair, or worse. Let’s make sure they know there will always be someone who listens and understands, who values what they have to say, who doesn’t expect constant perfection, who will pick them up and dust them off. Let’s make sure they know they’re not alone.

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September 2014 | EditorSpeak

“Killing It”: And that’s the point. The boys were able to perform well not because they’ve had years of dance training (I assume), but because they got it. If they hadn’t performed with intent and commitment (not to mention expressions that ranged from intentionally blank to starry-eyed to open-mouthed delirium), this skit would have been painful to watch instead of laugh-out-loud funny.

“Missing It”: Comedy is tough, I tell my students. We have to display technique while taking a figurative pie in the face. We can’t break character. We have to trust one another. Even if we do all that, and do it well, comedy is precarious. One man’s Adam Sandler movie is another man’s headache.

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August 2014 | EditorSpeak

“Dance 911”: It was an emergency. My son, then a sophomore in high school, approached me after a dance. “Mom,” he said, “when you dance, do you go back and forth, or side to side?” He demonstrated both, shifting stiffly from side to side, and yes, back and forth. Aghast, I gave him a quick lecture/demo on moving from his center and never bobbing his head.

“Make Your Bed”: What do you need to know about yourself in order to be fully present as a good teacher and choreographer, a successful studio owner—to uphold your values? And once you are aware of your patterns of behavior, how do you support yourself emotionally so that you can do creative and innovative work?

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July 2014 | EditorSpeak

As the cover makes obvious, with this issue Dance Studio Life celebrates 10 years of publication. I’ve been on board for seven years as editor in chief, but I had a hand in some of the earlier issues as a freelance editor—which means I’ve seen how much the magazine has grown and changed since its inception. The anniversary is Rhee’s topic this month in “On My Mind,” so I won’t say more than this: the most gratifying part of my job is seeing you, our readers, respond with enthusiasm to the magazine’s evolution. Our goal is to make a difference, helping you develop as business owners and teaching artists, and offering you new paths to creativity. Like you, we take our work seriously, and that’s as it should be.

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May-June 2014 | EditorSpeak

The Huffington Post headline caught my eye: “18 Things Highly Creative People Do Differently.” Wouldn’t you know, I fit almost all of the descriptors, from “they daydream” to “they people-watch” to “they ask the big questions.”

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March-April 2014 | EditorSpeak

There are two singing ensembles in my area. One boasts 100 chosen-by-audition voices trilling out six-part harmonies. In performances the singers wear black-tie garb and are accompanied by a professional orchestra—with a harp.

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February 2014 | EditorSpeak

I love dance neophytes. Accompanying one of those newbies to a performance—whether it’s their first exposure to dance in any form, to a particular kind of dance, or to a specific work—has the added perk, beyond the performance’s offerings, of a delicious mingling of pleasures.

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January 2014 | EditorSpeak

Dance teachers say it all the time: ballet is the foundation for all dance. Yet students who see only hip-hop and contemporary dance in their future don’t think they need ballet. Those students should be taken immediately to a performance by Nederlands Dans Theater and placed somewhere in the first 12 rows. From there they will have an excellent vantage point from which to see absolute proof that ballet is essential to every dancer.

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December 2013 | EditorSpeak

Here’s an observation that’s been getting a lot of press lately: providing people with information doesn’t make them change their behavior. It’s easy to think of examples of this: we all know smoking cigarettes can cause lung cancer, yet many of us won’t quit; a sign says dogs must be on leash, but people let their pups run free. In the world of dance education, a common rule, or piece of information, is that students can’t miss rehearsals and still be on the competition team or in the recital.

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November 2013 | EditorSpeak

I used to judge local scholarship pageants. It was fun, and I liked that the girls got a moment in the spotlight and some money for their educations. But suddenly my services were no longer needed, and I think I know why.

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October 2013 | EditorSpeak

Last August at the DanceLife Teacher Conference, I noticed a recurring theme: school owners unhappy about not being able to run their businesses the way they’d like to. They perceive a disconnect between what they want and what’s possible, citing resistance to change from their employees or clients. Less fearful school owners encouraged the disempowered owners to have confidence and fortitude. No one likes change, they said; what’s needed is the conviction to say, “Yes, that’s how we’ve done it in the past, but now we do it this way.” End of discussion.

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September 2013 | EditorSpeak

I volunteer in a program that offers support to high school seniors—all the first in their families to attend college—as they write their college application essays. At our second meeting a recent high school graduate and program alum, who has been accepted to the University of California–Berkeley, spoke to the group of 50-odd coaches and students.

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August 2013 | EditorSpeak

I was internet stalking for studio news when I came across a dance mom and her irate, two-part blog. Apparently she thought her young daughter was being forced to wear a revealing, sexualized outfit and (to further tarnish the child) perform to a song inappropriate in the extreme.

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July 2013 | EditorSpeak

When I attended the World Irish Dancing Championships, I didn’t realize what a world I had stepped into. Even when I left three days later, having made friends with a former world champion, a band of mothers from Colorado who were flattered by my endless questions, unpretentious professional dancers, charming competitors, and practically an entire studio from Ireland, I still had no clue. It wasn’t until two weeks later, when the horrific Boston Marathon bombings maimed a young Irish dancer, that I began to understand the shared pride that binds Irish dance studios separated by miles, languages, even oceans, into one community.

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May-June 2013 | EditorSpeak

May 29. One hundred years ago. Paris. As the story goes, an opening night audience became so incensed at what they were hearing and what they were seeing that they punched each other and threw chairs. At the ballet. How scandalous!

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March-April 2013 | EditorSpeak

I was proofreading an upcoming “A Better You” by Suzanne Martin when one statement smacked me in the face. “And unlike performers, who are only ‘on’ onstage, a teacher is ‘on’ as a role model all of the time. Don’t let your students see you slump!”

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February 2013 | EditorSpeak

Call me odd, but I love going to recitals. Doesn’t matter if I know a single dancer—I just enjoy seeing the show. That’s how I found myself strolling on a Saturday night through the gilt-and-red-velvet decor of yet another theater lobby, on my way to yet another recital.

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January 2013 | EditorSpeak

José Limón’s Othello-inspired dance, The Moor’s Pavane, is essential viewing for anyone with an interest in dance history. The work is the prime example of Limón’s intense, nuanced modern-dance voice, and I had never seen it. So when Diablo Ballet of Walnut Creek, California, offered it (in conjunction with sjDANCEco of San Jose), I marked my calendar. Preceding Pavane, with only a pause in between, was a piece by Vicente Nebrada from 1978, and the juxtaposition was striking.

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December 2012 | EditorSpeak

I suppose we all knew it would come to this. The Mackay Daily Mercury in Queensland, Australia, ran a front-page story in October when a 10-year-old dancer was cut from a dance company performance due to missed rehearsals.

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November 2012 | EditorSpeak

In the age-old definition, master classes differed from regular classes by the in-depth nature of the instruction. Developed in the classical music world but applicable to all the arts, master classes were rare opportunities for upper-intermediate and advanced students to hone particulars of their craft with an instructor who had reached the pinnacle of an artistic field and could share insights that reached beyond the students’ regular lessons. The key, presumably, was that the teacher was a master.

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October 2012 | EditorSpeak

If you want to be successful, says Chade-Meng Tan, retrain your brain. It’s as simple as this: if we let our emotions rule us, we are, Meng (as he’s called) says, letting the horse drag us instead of being in command. Meng, an engineer and the author of Search Inside Yourself, is now Google’s official “Jolly Good Fellow,” and the book is an evolution of a course he taught there. (Look for him on YouTube, giving talks at Google and TED on this topic.)

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September 2012 | EditorSpeak

The results are preliminary, but they’re a no-brainer to anyone involved in arts education. A study has found that “children that partake in music activity in a group setting are more prone to developing one of humankind’s noblest traits: empathy.”

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August 2012 | EditorSpeak

Business owners working together, and customer service—those are small-town survival strategies. In May I spent a few days in a small town in eastern California, the kind of place where Main Street is a freeway and boarded-up businesses occupy the handful of side streets.

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July 2012 | EditorSpeak

The 2012 graduates of the University of Pennsylvania got some unusual commencement advice. Nipun Mehta, the founder of ServiceSpace.org, told the Ivy Leaguers that though everyone else might expect them to fly, he wants them to walk. What he said makes sense for all of us, and it seems particularly timely advice for our business-focused issue.

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