It feels good to read about other young women who have chosen this path [“What They Do for Love,” July 2012]. I took over my mother’s business at age 23 and I have had so many moments of doubt about myself and my abilities to succeed at such a young age. When you surround yourself with people who believe in you, and when you trust that you have been living this life since you were born (for all us studio babies), it becomes clear that there is no better person than you to carry the torch.
Dance accompanists are an integral part of dance education. The job is multifaceted and challenging. Accompanists must use their experience and instincts to know what music best suits a teacher’s needs, and they need to play it well. They play a crucial role in helping dancers understand musicality, all the while seeking to continue developing their own artistry. It’s not an easy job, but it’s a rewarding and satisfying one for those who are successful.
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.
Melanie Rios Glaser is nothing if not bold. Bold enough, in fact, to say, “Dance can help end poverty in this country.” She points to the successes she’s seen and instigated at The Wooden Floor, an organization where dance remains at the foundation—the floor, so to speak.
For years I have watched students “prepare” for class by sitting in a comfortable second position straddle, usually with an iPod attached or chatting.
Founded in 1914, the Dance Teachers’ Club of Boston Inc. (DTCB) today has approximately 390 members, many of whom took their first official steps toward becoming teachers through the club’s Dance Education Training Course.
A strong preschool program indicates a bright future for a dance school. By offering a quality curriculum and hiring teachers with experience in preschool education, school owners can inspire this age group to make dance a part of their lives for the next 15 years.
Dance conventions offer both teachers and students a great way to broaden their dance horizons. You’ll gain knowledge; learn new techniques, teaching methods and styles; make new friends who share your Terpsichorean interest; and expand your personal horizons.
In this column last February, I wrote about my vision to create a retreat center for dance educators. It had been a dream for me since I launched Project Motivate in 1998
Last year, Cindy Reid was a high school junior from Oak Creek, Wisconsin, who didn’t know where she was going to college or how she was going to pay for it. Thanks to the New York City Dance Alliance Foundation college scholarship program, now she does.
Last week the space next door to my school became available for rent and the landlord offered me a very reasonable rate. The location would be perfect for a dancewear store.
Imagine a room full of enthusiastic people representing teacher organizations from the private and higher-ed sectors of the dance world, along with dance teachers who work in academic schools.
I often hear master teachers preaching to students to be well rounded. Once students are old enough and show enough interest, it’s common practice for studio owners to encourage them to broaden their dance studies. Everyone has heard the familiar mantra that all dancers need to take ballet because it provides a foundation for all dance forms. On the flip side, nowadays many teachers consider studying modern dance essential for ballet dancers.
At a recent Project Motivate seminar I ran into a school owner who had not been to any kind of continuing education event for more than 20 years.
Are you sometimes filled with self-doubt, afraid of failing or never reaching your dreams? Stop right there and take a look at how far you’ve come. This episode of “Danspirations” will help you set aside your fears and understand the importance of knowing your own strengths.
Those of us who spend our lives in dance understand its many evolutions: from student to professional, performer to teacher, choreographer to administrator. Yet we remain students of dance, attending conferences and seminars to continue our dance education.
Our dancers can feel if we are into it or not . . . teach them all with the same energy and passion, whether they can do five pirouettes or beginning to learn a first position. Have a great day–Rhee
Dance and the business of dance are evolving faster in the 21st century than ever before. Don’t ever believe that there isn’t more to learn or that there are not new paths to dance down . . . the possibilities are vast. Have a great day–Rhee
Today (or any day) is a good time to thank that teacher who instilled the passion for the art of dance in your soul. None of us would be where we are today if it weren’t for their ability to inspire us. Have a great day–Rhee
I am pooped and feel like quitting this business. It seems the studio is growing faster than I can keep up with, and I am exhausted with trying to keep it organized like my customers are used to. I am seriously considering selling it all and walking away.
I just received the August Dance Studio Life. Congratulations on always seeking to broaden the field. Your editorial on parents (“On My Mind,”) was amusing—and horrifying at the same time. Yes, ignorance is rife in the public conception of dance education.
Colleges across the country have distributed course syllabuses to their students at the beginning of each semester probably since Harvard opened its doors in 1636. A syllabus, whether on paper or online, serves as a road map for students, a blueprint for faculty members, and a guide for individual teachers to achieve the common goal of understanding and learning.
Wayne McGregor is as passionate a man as you’ll hope to find among choreographers. Cerebral and articulate, he is as much an intellectual as an artist.
Conventions make an exciting complement to dance-studio education. More and more studios are opting for competitions that come with a learning component or forgo the gold and silver of competitions altogether in favor of the convention experience.
Life is filled with a plethora of dos and don’ts. For college- and university-bound students, the world of higher education is no exception.