DSL publisher Rhee Gold will be the keynote speaker at All that Glitters—and Gold, a weekend event featuring a presentation of Costume Gallery’s latest styles and instruction on how to build a strong recreational program, to be held this month at Society Hill Dance Academy in Philadelphia.
Set for November 10 and 11, the event kicks off with a VIP cocktail reception and fashion show on Saturday from 6:30 to 8pm. Sunday starts bright and early with breakfast at the Sheraton Society Hill at 7am and a trolley tour of the city at 8am.
The main event, running from 9am to 6pm Sunday, includes Gold’s keynote seminar and a discussion on the topic “Building Your Recreational Program,” with Tiffany Henderson of Twinkle Star Dance. Henderson is the owner of Tiffany’s Dance Academy, a studio that boasts seven California locations and more than 4,000 students. Her Twinkle Star Dance program, designed for students ages 2 and a half to 6 and a half, provides subscribing studio owners with recital and classroom choreography videos matched with Costume Gallery styles.
The day will also include a presentation of Costume Gallery’s 2013 recital costume collection by the company’s designers.
A registration fee of $40 will be donated toward the Beverly Miller Scholarship Fund, and each attendee will receive a $40 credit toward a future order of 2013 recital season costumes. The Society Hill Dance Academy is located at 409 South 2nd Street, Philadelphia.
To register, visit http://www.costumegallery.co/event/ before November 6.
Roni Mahler learned some of her first lessons in ballet from the renowned Madame Maria Yurieva Swoboda, then expanded her knowledge as a dancer with Ballet Russe de Monte Carlo, American Ballet Theatre, and National Ballet of Washington (DC).
Since then, Mahler has become known as a “teacher’s teacher,” displaying wit and warmth in master classes and workshops all over the globe as she gets into the nitty gritty of teaching ballet technique to young students.
Teachers looking to refresh their classroom strategies with some of Mahler’s creative and insightful methods can do so at a November 3 and 4 ballet technique intensive at the DanceLife Retreat Center, Norton, Massachusetts.
Topics to be addressed include: ballet technique for ages 6 to 9, 10 to 12, and 13 and older; pointe work (beginner through advanced); molding beautiful feet; crafting variations; stretching concepts; successful methods for improving turnout, strengthening relevés, and teaching perfect pirouettes; and more.
The weekend also includes business and motivational sessions with Rhee Gold, including Selling Ballet, Making Ballet a Prerequisite for all Students, Dress Code Makes a Difference, and others.
For more details, visit http://www.danceliferetreat.com/#!fall-2012/vstc3=ballet or call 508.285.6650 to register.
Brooklyn-based choreographer John Heginbotham will lead a two-day workshop at the Mark Morris Dance Center, Brooklyn, New York, on August 14 and 16 from noon to 3pm.
Each day will begin with a short Bartenieff Fundamentals™ and ballet-influenced modern class, followed by the teaching of Dance Heginbotham repertory excerpts from Twin, which premiered last May at Baryshnikov Arts Center, and Winterreise, an evening-length work currently under construction. Instructors include Heginbotham and company members Kristen Foote and John Eirich.
Founded in 2011, Dance Heginbotham is a performance group devoted to the presentation of dance and theatrical work that features highly structured, technically rigorous, and theatrical choreography, frequently set to the music of contemporary composers. The company had its world premiere in January 2012 on the Millennium Stage at the John F. Kennedy Center for the Performing Arts and recently had its New York premiere at the BAC.
Cost is $25 drop-in or $45 for the workshop. Register at http://reservations.mmdg.org/Info.aspx?EventID=33&utm_medium=email&utm_campaign=school&utm_source=monthly+blast#DanceHeginbotham
Ballet Magnificat!, America’s premier Christian ballet company, will perform at Anastasia Baptist Church in St. Augustine, Florida, on September 7 at 7pm, according to St.Augustine.com.
The troupe will be performing two ballets: Deliver Us! and The Arrival! For tickets, visit www.itickets.com/events/285409.html.
Ballet Magnificat! will also teach an all-day workshop September 8 hosted by Living Stones, Inc. at the St. John’s Cultural Council’s Center for the Arts. Classes will be offered in advanced and intermediate ballet, pointe, variations, and contemporary ballet. To register, contact Living Stones at 904.827.7653 or email@example.com.
Ballet Magnificat! was founded by directors Keith Thibodeaux, who starred as “Little Ricky” on I Love Lucy, and Kathy Thibodeaux, who earned a silver medal at the International Ballet Competition in 1982.
An Urban Bush Women “Kinetic Kids” dance workshop will be featured during the 12th annual Fort Greene Juneteenth Arts Festival, planned for June 16 from noon to 6pm at Cuyler Gore Park, corner Fulton, Greene, and South Oxford Streets, Brooklyn, New York.
The free event is held by the Cooperative Culture Collective in partnership with Urban Bush Women and I AM CULTURE as part of the Soul of Brooklyn Week 2012.
Juneteenth is the oldest nationally celebrated commemoration of the ending of slavery in the U.S. Festival activities include live drumming and musical performances, dance performances and workshops, film screenings, exhibits, historic tours, and community awards. The UBW kids’ workshop is planned for 3:15pm. The festival will close with a Soul Train Dance Party.
The Synthesis Dance Project Summer Intensive strives to build the bridge between dance student and dance artist by assisting students as they work on technique, style, line, developing instincts, incorporating breath and dynamics, and strengthening one’s unique voice as a dancer.
Classes will be taught by Tracie Stanfield, artistic director of Synthesis Dance Project and faculty member at Broadway Dance Center and Peridance Capezio Center, and guest faculty, and the program will culminate in a performance in the Synthesis Dance Project’s Summer NYC Concert.
The program includes a pre-professional workshop and a summer intensive to be held this August in New York City. Intermediate and advanced dancers will take daily classes in contemporary lyrical, ballet, jazz, and progressions, plus master classes in partnering, theater performance, and improv.
Stanfield’s choreography has been seen at International Dance Festival NYC, LA Dance Invitational, K-Broadway in Tokyo, Towson University, University of Michigan, and numerous venues across the country. Recent teaching engagements include The Rock School, Joffrey Ballet’s Contemporary Intensive, The Grier School, and Marymount Manhattan College.
Audition is via DVD or online video submission. For an application and more information, visit www.SynthesisDanceProject.com.
Got news? Email Karen@rheegold.com and include your name, email and phone. We like accompanying photos too with photographer’s credit and photo description.
Dance New Amsterdam will offer Breath, Song, Dance: Singing Dance, Dancing Song, a movement and song workshop with Anita Gonzalez and Tiye Giraud, June 4 to 6 from 11:30am to 2:30pm, at the DNA studios in New York City.
Breath is an essential component of dancing and singing. This workshop will teach dancers, singers, and theatre artists how to connect breath to sound, and how to use sound, melody, and rhythm to create dance phrases and movement scores.
Gonzalez and Giraud met as founding members of the Urban Bush Women and have been working together for two decades to develop theatrical works that blend music/dance/theatre practice. Their art shares the power of integrated voice and body in performance.
DNA is located at 280 Broadway, 2nd floor (entrance on Chambers). Cost is $135 for DNA members and $150 for non-members for the full workshop, or $45 for DNA members and $55 for non-members for a single day. To register, contact the DNA front desk at 212.625.8369 x 200.
Got news? Email Karen@rheegold.com and include your name, email and phone. We like accompanying photos too with photographer’s credit and photo description.
The Scarsdale [NY] Ballet Studio celebrates the ninth season of its annual workshop performance, Concert Dance, on April 22 at 2 and 7pm.
This year’s program will feature Don Quixote Suite, with choreography by Simon Kazantsev and Carmen Banu and music by Ludwig Minkus; George Balanchine’s Serenade, set by Scarsdale Ballet artistic director Diana White and Ellen Shea, and a world premiere by Pedro Ruiz.
A former soloist of the New York City Ballet who worked directly with Balanchine, White is a repetiteur with the George Balanchine Trust and has the trust’s permission to stage his works on her students, who take special classes focusing on his style and technique.
Performances will be held at the Dance Theatre Lab, the Conservatory of Dance, Purchase College SUNY, 735 Anderson Hill Road, Purchase, New York. Tickets are $25 for adults and $18 for children ages 18 and younger, and may be purchased in advance by calling Scarsdale Ballet Studio at 914.725.8754.
The Montgomery Ballet’s Performing In America International Workshop is a four-week summer program of classes and performances designed for students who aspire to a career in dance.
The workshop is recommended for intermediate and advanced dance students, trainee or second company dancers, professional dancers, and dance teachers from the United States and other countries.
Dancers ages 12 and older can participate in daily master classes in ballet technique, pointe, pas de deux, variations, modern, and both traditional and innovative repertory, while also preparing and rehearsing for a professional production alongside members of the Montgomery Ballet. Specialty classes in nutrition, career management, and press/media relations are also available.Mo
The workshop will culminate in a public production of The Sleeping Beauty July 13 and 14 at the Montgomery Performing Arts Centre.
This summer’s session runs June 18 to July 15 in Montgomery, Alabama. Affordable accommodations and meal options are available. Auditions are required for acceptance into the program. For tuition costs and audition schedule, visit www.montgomeryballet.org or call 334.409.0522.
Infinite Motion Performing Arts Academy of New Jersey has designed two spring workshops for women especially designed to relax and rejuvenate.
Mood Dance Therapy will run February 27 from 11am to 1pm. Infinite Motion co-artistic director Colleen Cross will lead this special session with journaling, music, movement, and incense. Cost is $50.
Also a Gracious Serenity Workshop, a night of total relaxation featuring yoga, candlelight, live music, and henna (body art), will be held March 2 from 8 to 10pm. The workshop is open to ages 16 and older and will be led by instructor Janalee Wedenko, with henna artist Kyla Wedenko. Tuition is $50 and includes one henna design (additional henna designs available for $15 to $25).
Infinite Motion Performing Arts Academy is located at 21 Franklin Turnpike, Mahwah, New Jersey. For more information, email InfiniteMotionPAA@gmail.com.
The Summer 2012 Intensive Jazz Workshop, which showcases the Luigi technique and style, will run for two weeks this summer at Luigi’s Jazz Centre in New York City and is appropriate for all levels of dancers from beginners to professionals.
Week One runs July 9 to 14, with Week Two set for July 16 to 21. Participants can take one or both weeks. Application deadline is May 25. All classes are taught at Luigi’s Jazz Centre, 48 West 68th Street. To register, call 212.874.6215.
Bringing ballet and other Western dance forms to Bangladesh
By Claire Sheridan
In January 2011 I traveled to Dhaka, the capital of Bangladesh, to conduct a three-day teacher-training workshop at the invitation of Kamal Lohani, director-general of the Bangladesh Shilpakala Academy (National Academy of Fine and Performing Arts). My job was to introduce Western dance forms to a select group of the country’s best teachers and choreographers. Although highly respected experts in their field (bharata natyam, manipuri, kathak, and Bengali folk dance) they had little or no experience with ballet, jazz, modern, contemporary, tap, or hip-hop.
I’ve done a lot of teaching, lecturing, and choreographing in countries around the world (in addition to establishing both the dance program at Saint Mary’s College of California and LEAP, a national BA degree program for professional dancers), so I felt I could prepare with some confidence. But there was one unknown for me: Bangladesh is considered to be a conservative Muslim country. There are no ballet schools there and one rarely sees women wearing Western-style clothes on the street. I wanted to be culturally respectful, but honest. How then to proceed?
I planned the workshop as follows:
- Day 1: Ballet (history, technique, classics, and new works)
- Day 2: Dance in America (jazz, modern, contemporary, tap, and hip-hop)
- Day 3: Dance Behind the Scenes (general discussion of training and schools, the choreographic process, the life of a professional, the business of dance, etc.)
My hope was to start each day with a lecture/discussion and videos, approaching each form from a historical perspective. Where did tap come from? Why pointe shoes? What were modern dancers rebelling against? I’ve found that new dance forms make sense to others when they see how and why those techniques and aesthetics evolved. DVDs offer powerful illustration and inspiration, so I planned to show bits of everything from Swan Lake to Gregory Hines to West Side Story—while keeping the sensitivities of my audience in mind. A movement class for those dancers who wanted to learn some choreography and technique would follow each lecture.
Primarily, I wanted the workshop to be a conversation. That meant asking the participants questions, offering them choices, exchanging ideas, and honoring the great traditions of the dance forms they practice. I was eager to learn as well as teach.
I asked to visit the Academy the day before the workshop began to get a sense of the space, and I was happy to see a large square studio with wood floors, mirrors, barres (surprise!), a computer setup to play DVDs and CDs, portable chairs, and a nearby toilet (one less thing to worry about). There were some technical problems with the equipment as time went on, but the administrative staff was very professional and kind. Much attention was paid to ceremony, with opening and closing presentations, speeches, flowers, and photographs. On the wall was a big poster misspelling my name as “Clarie Sheridan,” so everyone called me Clarey, but that was perfectly fine; I’ve always wanted a nickname.
The participants ranged in age from about 20 to 50, both sexes, about 17 in all. Since English is not their first language (Bangla is), I tried to speak clearly, be animated, use a white board when necessary, and avoid video that featured lots of talking or interviews. The dancers were also happy that I distributed written summaries of my lectures as well as how-to material with pictures.
Most of the women wore saris the first day for the ballet class, so that’s a new one for me. (We did a lot of tendus and port de bras.) Some later switched to a salwar kameez (baggy pants and long shirts, worn by both men and women). One young woman wore modest Western-style workout clothes. I wore big T-shirts or tunic tops with baggy nylon pants and tights underneath. I had to roll up those pants a lot to demonstrate the workings of a tendu or battement, but at least I had the option of covering up.
No matter who wore what, these dancers were enthusiastic, generous, open minded, and hungry for information. It was an honor to work with them. The workshop atmosphere was joyful and, looking back, I see how the videos brought into that room dancers and choreographers from many countries, creating a kind of international dance community right there in Dhaka. We felt connected to something big. That’s the beauty of teaching dance abroad: it’s an effective way to make cultural connections, share your passion for dance, and learn about the world.
We flopped down on the studio floor, tired, sweaty, and exhilarated. We were from different sides of the planet, but we were all dancers, and at heart all dancers are the same, addicted to an art form that feeds body, mind, and soul.
So how did they move? Imagine if a group of American ballet teachers took their first bharata natyam class (including complex foot movements and choreography for the eyes and hands). It would be new and different. I did notice that the Bangladeshi dancers were excellent turners, with impeccable timing and the ability to memorize movement quickly. They had good turnout and an elegant carriage of the upper torso. The idea of using the entire body to create extended lines was foreign (especially stretched knees) and that Western kind of athletic flexibility was not particularly evident. We did joke that my highly arched feet (great for ballet) were pretty pathetic for bharata natyam, which prefers semi-flat arches in order to make the proper sounds when the feet beat out complex rhythms on the floor. (Speaking of feet, when I first taught a jazz pas de bourrée, they stamped the floor loudly and with great conviction.)
On the first day, after a morning of ballet history, I taught a mini ballet barre and some center combinations with temps lié and passé. They said they had heard about the waltz but had not done it before, so I taught them balancé and some waltz steps, which, they exclaimed, made them feel “so free and light.”
On day two, I decided to teach a jazz class after my “Dance in America” lecture. There’s something universal about how that dance form conveys energy and youth; its aggressive and powerful style was a revelation to the dancers. They had never experienced jazz before and they all remarked how much fun it was. I used music from the Happy Feet soundtrack and we had a blast.
By the third day my voice was in shreds (I had a cold), but they gave me a microphone and endured my croaking. I taught some contemporary choreography to music from an NPR CD, All Songs Considered. The combination told a story and incorporated floorwork; it was lyrical and emotional and the dancers took to it quickly—not a surprise since storytelling is an important element in their own dance traditions.
After each dance class we would discuss how it felt, and hearing their comments and comparisons improved my understanding of the dance techniques and traditions of Bangladesh. But I also learned that the dancers are struggling. They expressed their concern that although neighboring India is generally supportive of the arts, dancers in Bangladesh often have to contend with fundamentalist politics that are decidedly anti-dance. They are also isolated because few dance teachers or companies from other parts of the world come to their country. The Shilpakala Academy’s efforts to make progress in these areas were much appreciated.
One never knows the value of a three-day workshop, but a recurring theme did emerge: the concept of individuality. Yes, we can (and should) practice and honor classical dance techniques, but we can also break the rules as Martha Graham or Isadora Duncan did and invent our own style of movement. Respected dance forms (like tap and hip-hop) can emerge from the streets, and today it’s perfectly fine for choreographers to mix genres to create something new and exciting.
So if I had to identify one particular workshop outcome (besides my own education), it would be that these wonderful teachers and choreographers in Bangladesh are perhaps now more aware of their creative options. And that, I think, is a positive development. This part of the world has an ancient and beautiful tradition of dance, and as long as its artists are nourished and encouraged, I am optimistic about their future.
Bangladesh became a secular nation state when it seceded from Pakistan after a devastating war in 1971. As the eighth most populous nation in the world (with the fourth-largest Muslim population), the country is forging a path toward democratic development, but it is facing tremendous challenges from poverty, natural disasters, religious extremism, and corruption.
The Kibbutz Contemporary Dance Company from Israel will offer a five-day intensive workshop at the ODC performing arts center in San Francisco’s Mission District starting December 12.
Kibbutz Contemporary Dance Company (KCDC), under artistic director Rami Be’er, is one of the leading contemporary dance companies in Israel. The workshop serves as an audition for the five-month professional program in Israel that leads to private audition for the company and possibilities for placement in other Israeli dance companies, including Kamea Dance Company, Vertigo Dance Company, Bat Sheva, Imbal Pinto, the Israeli Ballet, and the Opera House Project Company. The program, Dance Journey, is open to dancers ages 18 to 26 and includes ballet and modern dance, Hebrew study, and travel in Israel.
Cost for the full workshop is $300, $90 for a single day, or $20 for a 90-minute technique class. Each day’s session runs from noon to 5:30pm. For more information, visit www.odcdance.org. To register, call the ODC Dance Commons front desk at 415.863.9830 ext. 100.
Online registration is now open for the Associated Dance Teachers of New Jersey’s fall workshop, to be held October 16 at the Bridgewater Marriott, 700 Commons Way, Bridgewater, New Jersey.
Classes will run from 9:30am to 2:30pm and feature teachers Liz Imperio with jazz, Roni Mahler with ballet, Mike Schulster with tap, and Chio Yamada with hip-hop.
Workshop fees (including continental breakfast for teachers and a box lunch for students/assistants) are $85 for ADTNJ members (with 2011-12 payment of dues included), and $45 for club member students or assistants. Non-member teachers are $55, non-member students or assistants are $45.
ADTNJ members (with 2011-12 dues paid) are free. Non-member teachers who bring 20 registered students are also free.
Classes will be held for juniors (ages 7-10), teens (ages 11-13), seniors/assistants (ages 14 and up), and teachers (ages 19 and up).
One registration per studio must be completed by the teacher in charge or studio owner. Individual registrations from students or parents will not be accepted. Online registration will be taken on a first come, first served basis at https://events.r20.constantcontact.com/register/eventReg?llr=det7lzdab&oeidk=a07e4odcbcy0ab0a10d&oseq=a015vgrgraea9. Space is limited. Online registration will close as rooms become filled, or by October 9.
The Chicago National Association of Dance Masters’ Fall Dance Workshop will be held November 5 and 6 at the DoubleTree Chicago/Oak Brook in Oak Brook, Illinois, with classes for teachers and students in tap, jazz, ballet, modern, hip-hop, ballroom, audition prep, partnering, and more.
A new session, the Orange Group, has been designed especially for students ages 7 to 9. A new mini-division for those young students, including a solo category, had been added to the student competition set for November 5 at 4pm.
A Mid-Day Madness Parents dance class featuring a musical theater routine will be held November 6 from 10:30 to 11:15am. Cost is $10 a person. Participants can wear dance shoes, tennis shoes, or socks. For more information, visit www.cnadm.com.
The School at the Mark Morris Dance Center invites New York City area residents to “Start Your Dance Workout” with an assortment of classes and workshops in August.
Weekly classes include:
- Kukuwa with Cassandra Nuamah (open level): Tuesdays, 7-8pm (begins August 2).
- Zumba with Kimberly Roberts (open level): Mondays, 7-8pm (begins August 1) and Fridays, 6:30-7:30pm (begins August 5).
- Zumba with Lauren Rosenstein (open level): Thursdays, 7-8pm.
Also starting the first week in August are a selection of new workshops: beginning classes in Pilates mat, jazz/hip-hop, tap, and modern; plus intermediate/advanced tap and beginning/intermediate modern.
The center is located at 3 Lafayette Street, Brooklyn, New York. Pre-registration is recommended. Register online at https://markmorrisdancegroup.org/the_school/registration_forms/1/new or call 718.624.8400
The School at the Mark Morris Dance Center will offer a “New Mom & Baby in Motion” workshop from 11am to noon on four successive Fridays, from July 15 to August 5.
A gentle combination of basic yoga, Pilates, and dance, this class is aimed at developing core strength, flexibility, and greater mind-body awareness, as well as helping participants to connect with their babies and other new mothers.
Reduced joint stability due to recent pregnancy, as well as tension areas (such as neck, shoulders, and back) from carrying a baby, will be taken into account and addressed. Pre-crawling babies are welcome.
The four-class series costs $60, with a $15 drop-in rate per class. Pre-registration is recommended. To register, call 718.624.8400 or visit https://markmorrisdancegroup.org/the_school/registration_forms/1/new. The center is at 3 Lafayette Ave. in Brooklyn, New York.
Monsters Dance Conventions will be making its way to Orlando, Florida, for a three-day dance workshop, plus seminars and auditions, all instructed by a faculty of professional choreographers.
The convention is set for July 15 to 17 at the Hyatt Regency Orlando. Scheduled faculty for the Orlando Tour Finale includes: Tabitha and Napoleon D’umo (Fox’s Mobbed, SYTYCD, America’s Best Dance Crew), Lisette Bustamante (Prince, Pink, ABDC),Kevin Maher (Jason DeRulo, NKOTB, Britney Spears), Rhapsody James (Beyonce, Step Up 2, Pussycat Dolls), Chonique Sneed (Diddy, Missy Elliott, Britney Spears), FloMaster (Usher, Step Up 2, You Got Served) Marty Kudelka (Justin Timberlake, ABC’s Dancing with The Stars), Laura Edwards (Britney Spears Circus Tour, Glee), and Jamal Sims (Hairspray, SYTYCD, Footloose, Miley Cyrus).
For more information or to register, visit http://www.monstersofhiphop.com/tour/future-detail.asp?tour_id=29 or call 1.888.5MONSTRS.
Drumming and dance workshops will be featured at the 14th Annual Florida African Dance Festival (FADF) scheduled for June 9 to 11 at Tallahassee Community College, Tallahassee, Florida.
Presented by African Caribbean Dance Theatre Inc., FADF is a three-day conference that features internationally renowned artists in dance and drum workshops, special dance workshops for children, festival vendor marketplace, natural hair show, and health focus on diabetes. The festival ends with a performance concert June 11 at 8:15pm at Lee Hall Auditorium, Florida A&M University, 1601 MLK Blvd, Tallahassee. Tickets are $10.
The African Caribbean Dance Theatre, Inc. (ACDT) a Tallahassee-based cultural education organization that organizes a year-round schedule of African dance and drum classes at 451 West Gaines Street (formerly Margo’s Balloons & Baskets) in Tallahassee.
For full schedule of events, visit www.fadf.org or call 850.539.4087.
Award-winning choreographer Robert Moses will lead a Summer Intensive Workshop June 13 to 17 at ODC Dance Commons, 351 Shotwell Street, San Francisco, California.
This intensive will provide an opportunity for intermediate to professional dancers to focus on technique and performance skills by taking class with Moses and members of his company, Robert Moses’ Kin. Students will have the opportunity to create and perform movement alongside company members in a supportive professional studio environment. Designed to give dancers a taste of company life, the week is dancer centered and will culminate in a small studio showing.
Moses and his company have been honored with many prestigious grants and awards, including an Irvine Dancemakers grant, three project awards from the National Endowment for the Arts, four Isadora Duncan Dance Awards, and the Bonnie Bird North American Choreography Award. An artist in residence at Stanford University, Moses teaches technique classes at the San Francisco Dance Center. He has been a master teacher and/or guest faculty at Jacob’s Pillow, Columbia College Chicago, Bates Dance Festival, and many other sites.
Cost is $280 if registered by May 15 ($330 after May 15), or $250 for current university students. To register, call 415.863.6606 or stop by the ODC Dance Commons. For more information visit www.RobertMosesKin.org.
The 92Y Dance Education Laboratory Weekend workshop from April 30 to May 1 focuses on “Dance and the Natural Environment,” and will show participants how to use environment-related themes to create hands-on, interactive, meaningful dance units for children.
Potential themes include ocean life, weather, animals, insects, global warming, and pollution. Participants will draw from current research, picture books, multi-media resources, and student experience to design and implement age-appropriate dances that bring environmental issues to life in movement.
The workshop is under the direction of Ann Biddle, dance educator, multicultural dance specialist, choreometrics movement analyst, director and founder of Stories in Motion, and the project director for the Empire State Partnership project at Ballet Hispanico. Workshop sessions at the 92nd Street Y, 1395 Lexington Avenue, New York, run from 1 to 6pm. Cost is $185 before April 23, and $200 after. Visit www.92Y.org for more information.
World Dance Movement International Dance Off Competition, an online video contest where dancers from around the world have a chance at scholarships to World Dance Movement’s 2011 intensive dance program in Italy, is now accepting submissions.
World Dance Movement—The International Workshop is an intensive dance program created by producer/director/choreographer Michèle Assaf in partnership with Annalisa Bellini and Mimmo Doali from Bellini Artinscena and master teacher/choreographer Bruno Collinet.
Scheduled for July 10 to 31 in Castellana Grotte, Italy, the program presents dancers with one-on-one training and attention in a noncompetitive study-vacation atmosphere. Faculty includes Assaf, Collinet, Desmond Richardson, Clarissa Mucci, Stacey Tookey, David Marquez, Jason Parsons, Joshua Pelatzky, Marisa Ragazzo, Sabatino D’Eustacchio, Federica Angelozzi, Michele Oliva, Stefania di Cosmo, Silvia Humaila, Eva Sanchez, and Frankie Martinez.
Prizes include one three-week scholarship valued at $3,000, or one of four $250 credits awarded to top videos in each division (children 9 to 12, intermediate 13 and up, advanced amateur 17 and up, and advanced professional 17 and up). Performance videos must be 1.5 to 2.5 minutes in length and uploaded before April 30. Submission fee: $25. Details available at www.thedanceoff.com.
DanceFusion Crew, a dance crew that blends tap, hip-hop, house, clogging, and other percussive dance styles, is celebrating its move to a new location in Ventura, California, with a series of free dance workshops.
Located in Moorpark, California for the past decade, DanceFusion Crew will now be based at Epic Ventura, 2855 Johnson Boulevard, Suite A. All workshops will be held April 7 at the new location and include lessons for children ages 4 to 12 at 5pm, teens at 6pm, and parents and other adults at 8pm.
DanceFusion Crew is committed to providing a dance experience to families that builds confidence, team spirit, friendships, and performance experience. No experience or special shoes are required for free workshops. Registration is required. Visit www.DanceFusionCC.com for more information and to register.
Perceptions Contemporary Dance Company will hold a four-day workshop/audition April 5 to 8 at Dance Theatre Workshop, 219 West 19th Street, New York City.
The workshop is geared toward intermediate and advanced dancers. Cost is $15 per class. Each class will include instruction in PCDC movement style and repertoire. Classes begin with the company warm-up and combinations, and conclude with sections of repertoire in which students will focus on telling stories through movement.
The company is looking for three dancers for the 2011-12 season, as well as guest artists to work on a new evening-length piece. Dancers can use the workshop as an audition, and while encouraged to attend all four days, can audition by attending one class. Dancers interested in auditioning should email a headshot and resume and pre-register online at www.perceptionsdance.org. Workshop space is limited; pre-registration is required.
Stephanie Herman, a former ballerina and longtime teacher, will be holding a “Barre Ballet Workshop” on March 27 from 1 to 2:30pm at Oshman Jewish Community Center, Palo Alto, California.
Herman will teach participants how to build a strong and flexible body from the inside out by learning to focus awareness on the mind/body connection. The exercises help to fine-tune muscles, create better alignment in daily movement patterns, prevent injury, and invigorate the mind.
A principal ballerina at 19, Herman danced for George Balanchine, Alvin Ailey, and Martha Graham and has worked with Julio Horvath, creator of Gyrotonics, and Carola Trier, a direct disciple of Joseph Pilates. She is certified by the American College of Sports Medicine and is the creator of the Dance with Me DVD series.
Cost is $15 for center members, and $25 for non-members. Center members can bring a non-member friend and receive $5 off. Contact Herman at firstname.lastname@example.org or 650.328.4909 with questions. For a full list of workshops/classes, visit www.stephaniehermanstyle.com.
Berkshire Creative of Berkshire County, Massachusetts, and the New England Foundation for the Arts, Boston, will host the Creative Communities Exchange, a major regional event highlighting successful creative economy work, on May 19 and 20 at MASS MoCA in North Adams.
The Creative Communities Exchange will offer 32 workshops led by creative and cultural community leaders showcasing model projects in creative economy work at the local level. The gathering promises a dynamic setting for peer-to-peer learning and networking.
NEFA will present its first-ever creative economy awards to two projects during the closing session, recognizing excellence in cultural community building. “Though the creative economy movement is global, we know that success really happens locally—through the work of artists, nonprofits, businesses, and civic leaders,” said NEFA executive director Rebecca Blunk. “We want to champion the innovative partnerships and inspired leadership in New England’s creative economy.”
Registration is $80 through May 1 and $100 after; a limited number of scholarships are available. For details, or for information on presenting, visit http://creative-communities-exchange.eventbrite.com/.
The mission of Berkshire Creative (www.berkshirecreative.org) is to stimulate job growth and economic opportunity in the region by sparking innovative collaborations among artists, designers, cultural institutions, and businesses. NEFA (www.nefa.org) is a nonprofit that operates with funding from the National Endowment for the Arts, New England state arts agencies, and from corporations, foundations, and individuals, and presents grants to contemporary dance individuals and companies, as well as other arts-based organizations.
Giordano Jazz Dance Chicago will hold its Summer 2011 Giordano Workshop June 10, 11 and 12 in Evanston, Illinois.
The event includes 12 classes by master teachers such as Nan Giordano, Homer Bryant, Susan Quinn, local ballroom professional Del Dominguez, and Giordano Jazz Dance Chicago company members; an in-studio performance by GJDC, and auditions for GJDC and Giordano II. This summer’s workshop will also feature the first Giordano Jazz Dance Chicago Choreography Competition, with a cash prize of $1,000 and the chance to set one’s work on Giordano II dancers.
Questions can be addressed to Michael McStraw, executive director, Giordano Jazz Dance Chicago, via phone at 847.866.6779 or at email@example.com. For a copy of the workshop brochure, registration details, and hotel information, visit www.giordanodance.org/company/files/GJDCWorkshop2011Brochure.pdf.
Being Bushified!—Urban Bush Women’s monthly culture and community series—introduces participants to the UBW community through dance, workshops, conversations, and films that demonstrate the impact of dance on health and wellness, education, communities, individuals, and innovation.
The next session, “Soul Deep—Using Movement to Build a Movement,” will be held February 9 at 7:00 p.m. at The Great Room, A.R.T. NY building, 138 S. Oxford Street, 2nd floor (between Hanson Place and Atlantic Avenue), Brooklyn, New York. Cost is $15 (or $12 for students with a valid ID).
The evening will feature a movement workshop led by an Urban Bush woman. Also, discussion will center around on UBW’s 2011 Summer Leadership Institute, a 10-day intensive in New Orleans scheduled for July 22 to 31 that connects dancers and community-based artists in a learning experience to leverage the use of the arts as a vehicle for social change.
For information call 718.398.4537 or visit www.UrbanBushWomen.org.
Backhausdance has announced a call for submissions for the first annual production of Platform, a weekend focused on up-and-coming, pre-professional dancers and choreographers, to be held June 3 to 5 in Irvine, California. The event is presented in partnership with the Irvine Valley College Dance Department. Performance submission deadline is February 18.
Platform seeks to foster the artistic growth of emerging choreographers and young performers through artist mentoring, performance opportunities, and a two-day workshop taught by respected dance specialists. Each piece selected for the three-day concert performance will receive personal feedback and choreography review from artistic director Jennifer Backhaus. Performers are also invited to a complimentary Performance Enhancement Workshop with Backhaus. Platform performances will be held June 3 and 4 at 7:30 pm, and June 5 at 2:00 pm.
Also, registration begins March 1 for Platform 2011: The Workshop and Backhausdance Summer Intensive with Backhaus and other master teachers. Workshop classes are open to the entire dance community, ages 14 and up, training at a high-intermediate to advanced/professional level. Classes will be held June 4 from 10:30 am to 4:00 pm and June 5 from 10:00 am to noon at the Irvine Valley College Performing Arts Center, 5500 Irvine Center Drive, Irvine.
More information, such as submission details and a performance application, is available at www.backhausdance.org.
Hip-hop dancer, choreographer, and artistic director Gabriel “Kwikstep” Dionisio will teach a master breaking workshop at the Mill Ballet School, Lambertville, New Jersey, on January 29 from 6:30 to 8:00 p.m.
The workshop is open to all ages and levels of dancers, and will include instruction in neck moves, head and shoulder tracks, drops, top rock, footwork, and rhythm patterns. Cost is $25.
Born and raised in New York City, Kwikstep toured China with the New York Express at age 19. He has won a Bessie award for choreography, appeared in TV, film, and videos, and founded Full Circle Productions, a non-profit hip-hop collective. Today he is an international icon in breaking and is best known for his smooth style, versatility, and signature head spins. Kwikstep will make his debut with New Jersey’s Roxey Ballet during “Romance and Dance,” running February 3 to 13.
The Mill Ballet School, the official school of the Roxey Ballet Company, is located at 243 North Union Street, Lambertville. To register, visit www.thestudiodirector.com/millballetschool/register.jsp. For more details, visit www.millballetschool.com or call 609.397.7244.
Giordano Jazz Dance Chicago (GJDC) has planned a three-day Giordano Workshop to be held in Evanston, Illinois, June 17 to 19, as it takes a year to reshape its Jazz Dance World Congress, which won’t be held this year.
The Jazz Dance World Congress will return in 2012 in a new venue. Plans will be released as they are finalized.
The workshop will feature Giordano technique and repertoire taught by GJDC artistic director Nan Giordano, company members, and others. Complete workshop information will be available by early February. For more information, contact Michael McStraw, GJDC executive director, at firstname.lastname@example.org. For updates, visit www.giordanodance.org.
The 24th annual “Jazz on Tap” (the metro Atlanta Jazz and Tap Dance Festival) will showcase 800 dancers in four performances, plus workshop classes taught by master teachers from across the U.S., this March 4 to 6 in Marietta, Georgia.
“It’s hard to believe the festival began 24 years ago with eight dance companies and through the support and enthusiasm of dancers and audiences alike have grown to one of the nation’s largest annual dance festivals,” says Marcus R. Alford, artistic director and founder of “Jazz On Tap.”
This year’s festival presents 23 companies from Georgia and the metro Atlanta area and 14 companies from Michigan, Arkansas, South Carolina, North Carolina, Tennessee, Kentucky, and Alabama. The dance workshop on March 5 and 6 is open to the public and features classes in jazz, tap, lyrical, African, contemporary, and hip-hop. Master class faculty will include African dance teacher Mama Yeye, Katee Shean from So You Think You Can Dance, Las Vegas tap dance entertainer Jay Fagan, contemporary teacher/dancer/choreographer Johnette Rutledge, Jared Jenkins of the Step Up movies, and mother/daughter tap duo Pat and Sher Shepherd.
Classes cost $20 each.
Performances are set for March 4 at 7:30 p.m., March 5 at 2:00 and 7:00 p.m., and March 6 at 2:00 p.m. Tickets are $16 adults and $11 students and children. All events will be held at the
Joe Mack Wilson Student Center Theatre and Ballrooms, Southern Polytechnic State University, 1100 South Marietta Parkway, Marietta, Georgia. Visit www.dancefestinc.com for details and to purchase performance and master class tickets.
Joy of Motion Dance Center in Washington DC, will heat up the winter with two pop workshops and two master classes full of hot new moves and plenty of sizzle.
Quynn Johnson will showcase choreography straight from the pop star’s most popular music videos during a Britney Spears Workshop on January 22, with choreography from the Single Ladies video by Beyoncé featured at the Single Ladies Workshop on February 12. Both workshops will run from 5:00 to 6:30 p.m. at the JOMDC Atlas location, and are open to all levels of dancers.
Jungle Boogie Crew will hold a beginning master class on February 20 from 5:00 to 6:30 p.m., with an intermediate/advanced master class set for February 20 from 6:30 to 8:00 p.m., at the JOMDC Friendship Heights location for dancers ages 16 and up. These master classes will include high-energy big step movements, grooves, Southern-style “cranking,” and isolation work, along with hints of breakdancing, locking, and street hip-hop.
Cost for the workshops or master classes is $25 in advance, $30 at the door. Visit www.joyofmotion.org to register.
Hubbard Street Dance Company’s community programming presents a Discover Dance Family Workshop on February 19 at 1:00 p.m. at Chicago Botanic Garden, 1000 Lake Cook Road, Glencoe, Illinois.
A special 45-minute workshop will help spark the imagination of participants as their creativity blossoms. HSDC representatives will show how to transform everyday ideas into choreography and then layer in music and images to create a unique family performance.
Admission is $5 per person. Registration ends February 14. To register, call 312.850.9744, extension 149, or email email@example.com.
The 92nd Street Y’s Harkness Dance Center invites Israeli artists in New York City (many of whom have performed here in the past) to present works-in-progress and repertory pieces during a special “Out of Israel Weekend” from January 7 to 9, 2011.
The weekend includes:
- January 7 from noon to 2:00 p.m.; free; excerpts of work by LeeSaar The Company, The Neta Dance Company, Deganit Shemy & Company, Netta Yerushalmy, Andrea Miller’s Gallim Dance, Michal Samama, and Lior Schneior.
- January 8 from 3:00 to 8:00 p.m., free; LeeSaar The Company: FAME, solos and duets in memory of Heath Ledger; Neta Pulvermacher and The Neta Dance Company: 2280 Pints!, a work in progress; Deganit Shemy & Company: two new works, Blink and 2 Kilos of Sea; Netta Yerushalmy: a work-in-progress; Andrea Miller and Gallim Dance: excerpts from two recent works, Blush and Wonderland; Michal Samama: Still Life with Seven Stones and a Woman, a new solo work; and Lior Schneior: a work-in-progress and a recent solo, Drang.
- January 9 at 3:00 p.m., $10; Sundays at Three: Deganit Shemy Curates. Shemy brings together a group of colleagues for an afternoon of solos and an excerpt from her own recent work. Artists include Nicholas Bruder, Denisa Musilova, and Michal Samama. Q&A with the choreographers after the performance.
The 92nd Y is located at 1395 Lexington Avenue, New York City. For more information, visit www.92Y.org or call 212.415.5500.
Doug Varone and Dancers will hold a NYC winter intensive January 10 to 15 at 890 Broadway, New York City.
From its first concerts at PS 122 in 1986, through acclaimed works like Lux, Rise, Orpheus and Euridice (for which Varone won an OBIE) and Dense Terrain, Doug Varone and Dancers has been praised for its expansive choreographic vision, versatility and technical prowess. The company has won eleven Bessies as well as two American Dance Festival awards for new work, and three awards from the National Dance Project. The company has performed all over the world and throughout the U.S. In recent years, the company has partnered with opera and theater companies, including The Metropolitan Opera, the Minnesota Opera and the Aquila Theatre Company. In addition to choreographing for his own company, Doug Varone has created works for the Limón Company, Batsheva Dance Company, Ailey II, Colorado Ballet, Canada’s Dancemakers, An Creative of Japan, and Uppercut Danse in Denmark. Varone’s work has been supported by the National Endowment for the Arts and he also won a Guggenheim Fellowship.
Registration for the winter workshop has closed. To sign up for the workshop waiting list, or to receive Doug Varone and Dancers performance updates, visit www.DougVaroneAndDancers.org.
Limón Dance Company member Raphael Boumaila will teach solos from the José Limón repertory during a winter workshop scheduled for December 27 to 31 at the Peridance Capezio Center, 126 E. 13th Street, New York.
During the week, intermediate/advanced technique classes held from 10:00 to 11:30 a.m. will focus on the key elements of the Humphrey/Limón tradition. Repertory workshops from 11:30 a.m. to 1:00 p.m. will explore solos from Limón masterpieces, including The Unsung, Chaconne, and Mazurkas. Students will gain first-hand experience of the relationship between technique and interpretation.
To register, visit www.limon.org.
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. She told me that as a kid she had gone to workshops and conventions with her teacher, but since then she hadn’t drummed up the confidence to attend because it had been so long since she had taken a dance class. She came to Project Motivate, she said, because she didn’t have to take class.
I had an hour-long conversation with her after the seminar. Since she hadn’t been exposed to any dance outside of her own school for so long, she was like a sponge soaking up information. I discovered that she is passionate about teaching dance but has been in the dark ages about education and business practices. One of her first questions was, “How long have dance schools been on computer?” She still uses a paper system and has no computer. She knows what the Internet is but had never considered setting up a website for her school. Her students pay for lessons on a weekly basis; if they don’t show up, they don’t pay for the class. And although her school offers a Cecchetti-based curriculum, she hadn’t attended a Cecchetti workshop since she was a teenager. She said she was embarrassed because she felt that her peers would look down on her for not continuing her own education.
One interesting aspect of our conversation was the discovery that in her 20 years away from the dance education world, she has kept her old-school values intact. Her objective has always been to inspire kids to love dance, and she thinks that the discipline learned in the classroom is just as important as the dance steps. Maybe she doesn’t realize that some studio owners struggle to achieve what she’s maintained. They face parents who only want their kids to have fun and students who don’t show the kind of respect for teachers that school owners think is needed. What a good resource this school owner would be for other teachers, if only she would put aside her fears about continuing education.
Maybe that will happen. By the end of our conversation, she seemed to have gained enough confidence to seek out the education she needs. She especially liked the fact that many of the teachers who attend workshops observe and take notes rather than take every class.
It’s been hard for me to get this teacher off my mind because I wonder how many others are like her. If you want to seek out continuing-education opportunities but feel intimidated, try not to let your fears about what others will think of you override your desire to learn. As this teacher discovered, there are various ways to expose yourself to the knowledge you need in order to give your students the best dance education possible. Don’t let your fears of personal discomfort distract you from that admirable goal of being the best teacher you can be. Once you get out into the dance world, you’ll discover that you are not alone. You’ll find that other teachers share your fears, ideas, and dreams and that you have much to offer one another.
Life is nothing but a learning process, and at certain times we come to realize that learning is more important than anything else. It allows us to fulfill our potential.
To help you remember that, here’s a quote to tack on your wall (attributed to John Cotton Dana): “Who dares to teach must never cease to learn.”
The 92nd Street Y, New York City, will kick off “Classroom Management: A Dance Teacher’s Essential Bag of Tricks,” a series of weekend workshops, in December.
The Dance Education Lab will present this series of five weekend workshops on specific issues in dance education. In a December workshop, Ana Nery Fragoso and Catherine Gallant will discuss how to keep dance classes focused and happy, even as teachers cope with students with varying ability and maturity.
For more information, visit www.92Y.org.
Artists Simply Human, a new workshop program that strives to connect emerging dancers with working choreographers and directors, will hold four days of classes and events from December 27 to 30 in Philadelphia.
The program, scheduled for the Crowne Plaza, includes more than 25 hours of instruction, Q-and-A sessions, autograph and photo sessions with faculty, a solo competition, teacher cocktail party and lunch, and scholarship awards.
Faculty includes Braham Logan Crane (contemporary), Sonya Tayeh (jazz funk), Sascha Radetsky (ballet), Dee Caspary (contemporary), Joey Dowling (musical theater), Tovaris Wilson (hip-hop), Tony Medeiros and Melanie LaPatin (ballroom), Toyko (improvisation and jazz funk), Wes Veldick (contemporary), Christopher Huggins (modern), and Jim Keith (“The Working Dancer”).
Discounts are available for groups of five or more. For information, call 610.348.7577 or visit www.ASHProductions.com.
American Ballet Theatre is teaming up with area parks and museums to present a number of free, kid-friendly, educational events in the New York area during November.
Young dancers from ABT’s upcoming production of The Nutcracker will be featured in workshops and dance demonstrations on November 7 at 2:00 and 3:00 p.m. at the Children’s Museum of Manhattan, 212 West 83rd Street. The event includes storytelling, interactive ballet basics, and a dance demonstration, and is free with museum admission. Visit www.cmom.org for more information.
“Meet the Mouse King” is scheduled for November 13 at 1 p.m. at the Audubon Center in Prospect Park. An ABT teaching artist will lead participants in a “Mouse Movement” ballet basics class, while Audubon Center experts will explore the behavior of mice in their natural habitat. The workshop is free. Visit www.prospectpark.org/audubon for more details.
Also, on November 28 at 2 p.m., a “Ballet Basics” workshop led by an ABT teaching artist will be held at the Brooklyn Children’s Museum. The workshop, free with museum admission, is designed for ages 4 and up. Participants will learn about the story and characters from The Nutcracker, as well as some easy ballet basics. More information can be found at www.brooklynkids.org.
ABT’s new production of The Nutcracker, with choreography by Alexi Ratmansky, will run December 22 to January 2 at the Brooklyn Academy of Music. More details are available at www.abt.org.
Several events highlighting Israeli folk dancing are planned for November at the 92nd Street Y, 1395 Lexington Avenue, New York City.
An Israeli folk dance workshop on November 21 from 2:00 to 8:00 p.m. will provide instruction for teachers looking to work with Israeli dance in schools or amateur performing groups. Topics include theme development, Jewish holiday dances, costume planning, and choreography skills. The workshop is $50, and advance registration is required.
The annual Israeli Folk Dance “Thanksgiving Marathon” will be held November 24 from 9:00 p.m. to 4:00 a.m. Admission is $25 at the door.
Also, every Wednesday during November from 7:00 p.m. to 12:45 a.m., folk dance masters Ruth Goodman and Danny Uziel will lead an Israeli folk dance party. The night begins with a brief lesson in steps and styles of basic Israeli folk dances from 7:00 to 8:00 p.m. Call the Israeli Folk Dance hotline at 212.415.5737 for location and schedule updates.
For more information on events at the 92nd Street Y, visit www.92Y.org or call 212.415.5500.
Julia Chacón, a flamenco soloist who has performed in Colombia, Mexico, Spain, and the United States, will be teaching at workshops and performing at several locations in Arizona over the next few weeks.
Chacón, based in Santa Fe, New Mexico, has appeared with top flamenco artists such as Carlota Santana, Maria Benitez, Miguel Angel Rojas, Carlos Rodrigues, Antonio Granjero, Inmaculada Ortega, Antonio Hidalgo, and Omayra Amaya. She provided choreography for the 50th anniversary of the Shanghai Opera House in China, and teaches workshops throughout the United States.
While in Arizona, she will be holding master classes at the National Dance Education Organization’s annual conference in Tempe from October 20 to 24. From October 24 to 26, Chacón will be holding open workshops for beginners through advanced students at the Yumi la Rosa Studio in Chandler, with a second set of workshops for beginners and intermediate students planned for October 29 to 31 in Flagstaff.
Chacón is also scheduled to perform at two locations in Scottsdale: at Tapas Papa Frita on October 22 and the Scottsdale Hyatt Gainey Ranch on October 23 at 9:00 and 10:00 p.m.
Discounts are available for advance workshop registration. For more information on times and locations, or to register, visit www.juliachacon.com or call 602.741.9495.
A professional dance troupe from Tahiti, Les Grands Ballets de Tahiti, will hold a three-hour workshop on Polynesian dance on October 24 at Presidio Dance Theater in San Francisco.
Since 1998, Les Grands Ballets de Tahiti has performed throughout French Polynesia, using dances, rhythms, and songs as it honors the spirit of both traditional and contemporary Polynesian dance. While at PDT, members of the troupe will set new choreography on the Presidio students, and also share some authentic costume pieces. Visit www.presidiodance.org or www.lesgrandsballetsdetahiti.com for more information.
Robert Moses Kin will hold a week-long dance workshop at the ODC Dance Commons Dec. 27-31, culminating in a free in-studio performance by participants for family and friends.
Classes will be held Monday, Wednesday, and Friday from 10 a.m. to 4 p.m.; and Tuesday and Thursday from noon to 4 p.m., and will focus on style, phrasing, and performance technique.
For more info visit www.RobertMosesKin.org.
Camp Pulse, a dance workshop created by The Pulse on Tour especially for dancers ages 8 to 13, features faculty teachers who have created choreography for or performed in “tween”-friendly” entertainment.
Faculty includes Brooke Lipton (Glee, Britney Spears), Rosero McCoy (Camp Rock 2), David Moore (Hannah Montana, American Idol, Step Up 3D), Lane Napper (iCarly), Miquel Zarate (Miley Cyrus), Jamie Goodwin (High School Musical 3), and Jason Glover (Glee.)
Workshops are scheduled for Oct. 9-10 in Secaucus, New Jersey, and Oct. 23-34 in San Antonio, Texas. For more information, visit www.thepulseontour.com.
Tickets to concerts and workshops at the final weekend of the first Massachusetts Dance Festival, set for Saturday and Sunday, August 28 and 29, at the University of Massachusetts at Amherst, are available online at http://massdancefestival.org.
Tickets to Saturday’s professional-company performance, which starts at 8 p.m. in the UMass Fine Arts Center, are $20 in advance and $25 at the door. Sunday’s emerging-artists concert starts at 4:00 p.m. in the UMass Totman Building, Large Gymnasium. Tickets are $10 in advance, $12 at the door.
Saturday’s 80-minute workshops, which are offered from 10:30 a.m. to 4:20 p.m., are $12 each or $40 for a bundle of four. Sunday’s 50-minute workshops, from 11:30 a.m. to 2:50 p.m., are $10 each or $35 for four. Workshops both days will be held at the Totman Building.
Tickets are $15 to a cocktail party from 5:30 to 7:30 p.m. Saturday at the UMass Top of the Campus Center.
The festival website cited above also offers help with finding accommodations and arranging car pools.
The two eight-hour sessions will cover all of Danc’eM’s materials for ages 2 to 8, including material for teaching tap, ballet, and jazz, baby classes, and Mom and Me classes. All of Danc’eM’s props will be on display, and participants will get $100 worth of free merchandise to take home with them at the end of the session.
Those who sign up are assured that no one from a school within 30 miles of theirs will be present, to ensure that participants can learn in a non-competitive atmosphere.
The fee for the two-day session is $299 for teachers and owners and $250 for teaching assistants; participants get a certificate upon completion of the workshop.
To register or to learn more, call toll free 888.432.6236 or visit www.4dancem.com.
Flow 40 Dance Workshops will offer instruction in ballet, jazz, and contemporary in a workshop from July 26 to 29 at Maddox Dance Studio in Warrenton, Oregon. For details, email firstname.lastname@example.org or call 503.861.1971.
Flow 40 began in 1998 as a hip-hop company of Oklahoma City University students. It’s now based in Los Altos, California, and offers workshops in hip-hop, jazz, tap, contemporary, lyrical, ballet, and musical theater. To learn more, visit www.flow40dance.com.
A full roster of workshop offerings has been announced for the Massachusetts Dance Festival on the last two weekends in August. Each workshop will be held on the designated day on both weekends, August 21-22 in Boston and August 28-29 in Amherst.
West African Dance Class, 10:30 to 11:50 a.m. Saturday: led by Fatou N’Diaye Davis and intended for professionals.
Modern Dance Class, noon to 1:20 p.m. Saturday: led by Lorraine Chapman, for professionals.
Integrated Dance Class, 10:30 to 11:50 a.m. Saturday: led by Ellen Kaz, for professionals.
Healthy Dancers Seminar, 10:30 to 11:50 a.m. Saturday and 1:00 to 1:50 p.m. Sunday: led by Drs. Andrea Stracciolini, Ellen Geminiancy, Cynthia Stein, and Bridget Quinn, for parents, dancers, and students.
Hip-Hop, noon to 12:20 p.m. Saturday (for professionals) and noon to 12:50 p.m. Sunday (for students from age 13 to adults): led by Jordan Medeiros.
Photographing Dance, 3:00 to 4:20 p.m. Saturday: led by Arthur Fink, for all comers.
Tap Dance Class, 1:30 to 2:15 p.m. Saturday (for professionals) and 2:00 to 2:50 p.m. Sunday (for 8- to 12-year-olds): led by Thelma Goldberg.
Teaching the Joy and Beauty of Ballet, 1:30 to 2:50 p.m. Saturday: led by Wayne Stewarte, for ballet teachers.
Cuban Salsa Class, 1:30 to 2:50 p.m. Saturday: led by Amanda Gill, for professionals.
Jazz Class, 3:00 to 4:20 p.m. Saturday: led by Jeannette Neill, for professionals.
Classical Ballet Class, 3:00 to 4:20 p.m. Saturday: led by James Reardon, for professionals.
For details and registration, visit www.massdancefestival.org.