August 2014 | Write It Down

Choreography has become a never-ending task for studio teachers, which means they’re on a relentless quest for quality music and fresh inspiration. They face overwhelming pressure to outdo the previous year’s work and meet the expectations of students and their parents. Choreographers need to acquire a vast amount of music and fill thousands of counts with movement, all while showcasing the specific strengths of their students. Often, these demands lead them to rush the choreographic process.

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On My Mind

Recently I met Amanda (not her real name), a dance teacher who broke down while she explained that she had once loved teaching. Now it was nothing but stress. When she started teaching, she said, things were simpler: “All I had were toddlers; they loved class and so did I.” Now, she said, “I have students of all ages who are jealous of each other, and the parents question every move I make. They call or text me because they do not like my choreography or to blast me because they think tuition costs are too high. Almost everything I do is wrong!”

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Ballet Dancers, Symphony Musicians, Exhilarated by Original Collaboration

The dancers of Miami City Ballet and the musicians of New World Symphony have spent most of their careers doing what they’re told by teachers, choreographers, conductors, and directors. But Tuesday evening, members of both ensembles presented a show of choreography created by the dancers and live music that they put together entirely on their own, a collaboration that’s unprecedented for both.

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Dancing Big

A normal week might find Jimmy Locust teaching 20 classes at his studio in Stamford, Connecticut. Or he might be on a plane to Los Angeles or Hawaii to choreograph a music video. Or a camera crew might be following him as he prepares for an upcoming performance with his acclaimed youth performance team, Hip Hop’s Finest. Life keeps the diminutive Locust, who is four feet nine inches tall, on the move.

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Thinking Out Loud | Hip-Hop Gold

For 18 years, my studio’s enrollment has remained steady. I have seen students graduate from high school and move on, only to be replaced by little ones now old enough to join Fundamentals of Dance, a class for the youngest dancers. Some students move away while an equal number of dancers change studios and come my way. Yet attracting male students to the school and sustaining their enrollment was like picking apples off a pear tree—until I added hip-hop to the roster.

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Ask Rhee Gold

Do you have any advice about working with competition kids and determining who is in the front row, back row, etc.? These are 7- and 8-year-old kids in their second year of competing. It is only a group of 10, so the majority of times they’re in either the first or second row. I try to rotate them as much as I can, but there are always the stronger ones I need at that age. It bothers me because I always try to make sure they all feel important and a part of the routine. How should I base which dancers are in the front row—do I assess them or give preference to the kids who have been with the studio longer than the others?

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2 Tips for Ballet Teachers | Pas de Cheval

My training as a very young child included a step that is seldom done now. A favorite of mine, it was “the horsey step” (pas de cheval, or “step of the horse”). The foot is pointed devant and the arm is extended in front, in line with the foot, palm down, and eyes looking at the hand. The foot is then brought toward the supporting leg in a circular movement to approximately ankle height and returns to the pointed position, and at the same time the wrist and head lift.

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Cultivating Creativity

Dance studios and programs across the country tend to put most of their emphasis on nurturing budding dancers and give little thought to offering training, support, and opportunities for young choreographers, particularly aspiring teenage dancemakers. But look harder and you’ll find that choreographic mentorship is thriving in three North American programs.

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Thinking Out Loud | Virtual Rehearsal

I slapped some ice onto my purpling Achilles tendon, but I could tell I was going to have to rest it. So I emailed the director of A Little Night Music, a production for which I was contributing choreography. A string of email brainstorming correspondence followed, and I began to write out instructions, reminders, and notes for the rehearsal in the event that I could not attend. Fortunately, the show was three weeks into rehearsal with staging and choreography already plotted out. But that night was an important run-through of Act 2, which I felt I could not miss. As a joke, I wrote, “Too bad we can’t have a video conference!” To which the assistant director replied that we could—via Skype, so that I could “watch” the run-through.

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