Dance Studio Life Dedicated to Quality Dance Education 2017-06-20T03:01:35Z http://www.dancestudiolife.com/feed/atom/ WordPress http://www.dancestudiolife.com/wp-content/uploads/2017/01/cropped-icon-512-32x32.jpg Rhee Gold <![CDATA[May-June 2017 | College Close-Ups | Indiana University]]> http://www.dancestudiolife.com/?p=48747 2017-06-01T19:52:25Z 2017-06-05T10:00:53Z Rhee Gold <![CDATA[May-June 2017 | 2 Music Tips for Dance Teachers | Hints for Recital and Exam Music]]> http://www.dancestudiolife.com/?p=48743 2017-06-01T18:50:59Z 2017-06-02T10:00:34Z Tip 1: With year-end recitals and Royal Academy of Dance and Cecchetti exams around the corner, in my final column, I’d like to share tips for choosing music that will help your students remember the steps, keep count, and look their best. Tip 2: Ragtime melodies can be fun. Scott Joplin’s March Majestic (2:52) and Rosebud March (3:09), both in 6/8 with multiple sections, are wonderful for skips, gallops, spring points, and chassés.]]> Rhee Gold <![CDATA[May-June 2017 | Mail]]> http://www.dancestudiolife.com/?p=48739 2017-06-01T18:45:20Z 2017-06-01T18:45:20Z Rhee Gold <![CDATA[May-June 2017 | 2 Tips for Hip-Hop Teachers | The Upper Body’s Connected to the . . . Lower Body]]> http://www.dancestudiolife.com/?p=48730 2017-05-30T17:15:57Z 2017-05-31T10:00:29Z Tip 1: Many hip-hop students struggle to connect their upper bodies (arms, shoulders, neck, head, chest, and torso) to their lower-body moves. It’s easier said than done. Here are some ways to develop the upper half’s ability to complement the lower—and make your students into more expressive, dynamic dancers. Tip 2: Once students are comfortable with the upper body following the lower, have them try making the upper body contrast with the lower. ]]> Rhee Gold <![CDATA[May-June 2017 | Making a Good Impression]]> http://www.dancestudiolife.com/?p=48719 2017-05-30T16:23:04Z 2017-05-30T16:23:04Z Rhee Gold <![CDATA[May-June 2017 | Studio Support]]> http://www.dancestudiolife.com/?p=48685 2017-05-24T16:55:51Z 2017-05-24T16:55:51Z Rhee Gold <![CDATA[May-June 2017 | 2 Tips for Modern & Contemporary Teachers | Preparedness and Repetition]]> http://www.dancestudiolife.com/?p=48673 2017-05-23T16:02:59Z 2017-05-23T16:02:59Z Tip 1: The start of class can be challenging if I don’t allow students time to transition from their everyday routines into class time. Tip 2: Repetition is always important, especially with middle- and high-school-aged students. ]]> Rhee Gold <![CDATA[May-June 2017 | High Fidelity]]> http://www.dancestudiolife.com/?p=48663 2017-06-05T22:41:53Z 2017-05-22T20:05:53Z Rhee Gold <![CDATA[May-June 2017 | Ask Rhee Gold]]> http://www.dancestudiolife.com/?p=48650 2017-05-18T16:24:13Z 2017-05-18T16:24:13Z Rhee Gold <![CDATA[May-June 2017 | Thriving on the Outskirts Part 2]]> http://www.dancestudiolife.com/?p=48633 2017-05-17T20:15:54Z 2017-05-17T20:15:54Z Rhee Gold <![CDATA[May-June 2017 | 2 Tips for Tap Teachers | Wings and Flash Steps]]> http://www.dancestudiolife.com/?p=48628 2017-05-16T22:27:04Z 2017-05-16T22:27:04Z Tip 1: Since the early days of tap, flash steps have been used to bring routines to exciting climaxes or to challenge other dancers in contests. Tip 2: Popular flash steps with wings include the single-foot wing in the third step of the B.S. Chorus, the double wing in Bill “Bojangles” Robinson’s “Doin’ the New Lowdown,” and the alternating wing and tip in the traditional buck and wing.]]> Rhee Gold <![CDATA[May-June 2017 | Thriving on the Outskirts Part 1]]> http://www.dancestudiolife.com/?p=48618 2017-05-15T21:01:02Z 2017-05-15T21:01:02Z Rhee Gold <![CDATA[May-June 2017 | Dance History Quiz]]> http://www.dancestudiolife.com/?p=48595 2017-05-12T20:32:42Z 2017-05-12T20:32:42Z Rhee Gold <![CDATA[May-June 2017 | EditorSpeak]]> http://www.dancestudiolife.com/?p=48586 2017-05-08T17:30:02Z 2017-05-08T17:30:02Z Rhee Gold <![CDATA[May-June 2017 | On My Mind]]> http://www.dancestudiolife.com/?p=48582 2017-05-08T17:05:06Z 2017-05-08T17:05:06Z Rhee Gold <![CDATA[May-June 2017 | 2 Tips for Ballet Teachers | Grand Battement to Side and Back]]> http://www.dancestudiolife.com/?p=48578 2017-05-12T17:58:59Z 2017-05-08T16:17:19Z Tip 1: To obtain a higher extension in grand battement à la seconde, students often rock the weight back into the heel of the standing foot. Tip 2: Most students love the sensation of a grand battement derrière into arabesque. This common step needs constant maintenance, as students can form bad habits quickly.]]> Rhee Gold <![CDATA[May-June 2017 | The Space Race]]> http://www.dancestudiolife.com/?p=48555 2017-05-05T18:15:29Z 2017-05-05T18:15:29Z Rhee Gold <![CDATA[May-June 2017 | Moving Images]]> http://www.dancestudiolife.com/?p=48538 2017-05-05T17:48:33Z 2017-05-05T17:48:33Z Balanchine Essays: “Arabesque” 2. Thelma’s Tap Notes: Tap Into Life: A Guide to Tap Dancing for Adults, Level I 3. Reset 4. Contemporary Turns and Jumps With Albert Cattafi]]> Rhee Gold <![CDATA[May-June 2017 | Page Turners]]> http://www.dancestudiolife.com/?p=48535 2017-05-04T19:49:54Z 2017-05-04T19:49:54Z Tappin’ at the Apollo: The African American Female Tap Dance Duo Salt and Pepper 2. Saving Radio City Music Hall: A Dancer’s True Story 3. How They Became Famous Dancers: A Dancing History 4. Merce Cunningham: Beyond the Perfect Stage]]> Rhee Gold <![CDATA[May-June 2017 | Bulletin Board]]> http://www.dancestudiolife.com/?p=48523 2017-05-04T18:32:12Z 2017-05-04T18:32:12Z