Dance Studio Life Dedicated to Quality Dance Education 2017-03-23T18:36:32Z WordPress Rhee Gold <![CDATA[March-April 2017 | Costumes Count]]> 2017-03-23T18:36:32Z 2017-03-22T18:27:12Z Rhee Gold <![CDATA[March-April 2017 | 2 Tips for Modern & Contemporary Teachers | Changing Front and Sharing Weight]]> 2017-03-23T18:24:53Z 2017-03-21T18:23:20Z Tip 1: Staying at the front of the studio during class can limit you as an instructor. Changing your vantage point is a good way to catch issues that otherwise might escape your attention. Tip 2: The ease and fluidity associated with contemporary duet work can begin with a simple weight-sharing exercise.]]> Rhee Gold <![CDATA[March-April 2017 | Higher-Ed Voice | A Teaching Lab for Creativity]]> 2017-03-20T22:39:48Z 2017-03-20T17:57:52Z Rhee Gold <![CDATA[March-April 2017 | Ask Rhee Gold]]> 2017-03-16T17:07:19Z 2017-03-16T17:07:19Z Rhee Gold <![CDATA[March-April 2017 | A Step Ahead]]> 2017-03-16T16:53:32Z 2017-03-15T16:46:34Z Rhee Gold <![CDATA[March-April 2017 | 2 Tips for Tap Teachers | Finishing Touches]]> 2017-03-14T17:12:29Z 2017-03-14T17:11:32Z Tip 1: Getting a tap routine ready for performance is like putting frosting on a cake. The ingredients have been organized and laid out, and now it’s time to concentrate on the final details: making it look and (in tap’s case) sound great. Tip 2: Tap is a full-bodied dance form, and the upper body can express rhythm just as clearly as the feet can make sounds. ]]> Rhee Gold <![CDATA[March-April 2017 | Exploring Contemporary Dance]]> 2017-03-14T17:25:34Z 2017-03-13T21:38:55Z Rhee Gold <![CDATA[March-April 2017 | EditorSpeak]]> 2017-03-14T17:21:31Z 2017-03-10T18:14:35Z Rhee Gold <![CDATA[March-April 2017 | On My Mind]]> 2017-03-14T17:14:18Z 2017-03-09T18:12:44Z Rhee Gold <![CDATA[March-April 2017 | Fantastic Beats and Where to Find Them]]> 2017-03-08T19:00:56Z 2017-03-08T19:00:56Z Rhee Gold <![CDATA[March-April 2017 | 2 Tips for Ballet Teachers | Pliés and Tours in Men’s Class]]> 2017-03-07T20:06:46Z 2017-03-07T20:03:43Z Tip 1: To start men’s class, my male students and I do 32 push-ups to music (usually at a coda or fouetté tempo) followed by what I call “manly pliés” at the barre. Tip 2: When male students practice tours en l’air, they often need reminders to clean up their preparation port de bras.]]> Rhee Gold <![CDATA[March-April 2017 | Cool & Contemporary]]> 2017-03-08T19:01:53Z 2017-03-06T17:45:15Z DSL asked celebrated choreographers Tyce Diorio, Teddy Forance, Mia Michaels, and Derrick Schrader how they define the genre, the pros and cons of making dance in an age when dance videos are ubiquitous online, where they find inspiration for their work, and how they approach choreographing and staging contemporary dance. We also asked for their advice for dance teachers in hometown studios.]]> Rhee Gold <![CDATA[March-April 2017 | Moving Images]]> 2017-03-03T17:17:55Z 2017-03-03T17:17:55Z Dancing Dreams 2. Ghostlight 3. Alonzo King Lines Ballet: Triangle of the Squinches, Scheherazade, Dust and Light 4. The Royal Ballet: Frederick Ashton’s La Fille mal gardée ]]> Rhee Gold <![CDATA[March-April 2017 | Page Turners]]> 2017-03-03T17:15:44Z 2017-03-03T17:15:44Z Agnes de Mille: Telling Stories in Broadway Dance 2. Underpants Dance 3. Martha Graham in Love and War: The Life in the Work 4. Dinosaur Dance! ]]> Rhee Gold <![CDATA[March-April 2017 | Bulletin Board]]> 2017-03-03T17:13:53Z 2017-03-02T17:12:20Z Rhee Gold <![CDATA[March-April 2017 | FYI]]> 2017-03-03T19:34:13Z 2017-03-02T17:08:10Z Rhee Gold <![CDATA[March-April 2017 | Performance Corner]]> 2017-03-02T17:08:43Z 2017-03-01T21:17:44Z Rhee Gold <![CDATA[March-April 2017 | Contemporary & Modern Dance]]> 2017-03-23T18:35:51Z 2017-03-01T06:00:21Z Rhee Gold <![CDATA[February 2017 | 2 Music Tips for Dance Teachers | The Ballets Russes: Polovtsian Dances and Scheherazade]]> 2017-02-28T18:51:21Z 2017-02-28T17:50:38Z Tip 1: In the 1950s, composer-lyricists Robert Wright and George Forrest adapted many of these pieces for their musical Kismet; for example, the lilting 4/4 “Gliding Dance of the Maidens” became “Stranger in Paradise.” I like to use this piece for a barre or center fondu, stretch, port de bras, or adagio, or for a lilting women’s dance in character class. Tip 2: For Scheherazade, Fokine used Rimsky-Korsakov’s Scheherazade, op. 35—an 1888 suite based on stories from The Arabian Nights. This suite contains wonderful material for creative movement and character classes. ]]> Rhee Gold <![CDATA[February 2017 | Summertime Teacher Training]]> 2017-02-27T21:21:46Z 2017-02-25T17:42:39Z